Scanned from the collections of
The Library of Congress
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at The LIBRARY of CONGRESS
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for Audio Visual Conservation
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2
JULY, 1962
Eddie Fisher
Richard Chamberlain
The Lennon Sisters
Chuck Connors
Comedians' Wives
Vincent Edwards
Sandra Dee
David Nelson
Tommy Sands
Diane McBain
Now Try This!
Roger Smith
"The Clear Horizon"
Alfred Hitchcock
Jack Linkletter
Annette Funicello
Arthur Godfrey
MIDWEST EDITION
VOL. 58, NO. 2
IT HAPPENED THIS MONTH
25 The Woman Who Can Save Him. Lynn Jackson
26 Dick's Seven Deadly Errors James Gregory
28 The Next Sister to Be a Bride Eunice Field
32 "I Did What I Did for My Boys" Marilyn Beck
34 That's My Husband You're Laughing At!. .Cindy Adams
36 A Lady Doctor Examines His Heart. .. .Betty e Ackerman
40 The Bobby Darin Honeymoon Is Over. .Chris Alexander
42 "Marriage Is Not What You Think!" David Nelson
44 Who Says It's Easy to Love a Rich Girl?. .Mary Baldwin
46 The Other Cleopatra in Burton's Life .... Dean Gautschy
49 Is Your Face Your Fortune — or Misfortune? Cyro
52 When the In-Laws Move In Jane Ardmore
54 Can You Learn to Live with Death?
Arthur Henley and Dr. Robert L. Wolk
56 Why Grace Kelly Couldn't Say "No" June Morefield
58 "I Won't Make Father's Mistakes" Favius Friedman
60 It Happens Once to Every Girl Irene Storm
63 Where Are Godfrey's "Friends" Now? Paul Denis
BONUS: A MAGAZINE WITHIN A MAGAZINE
17 Music Makers in the News 19 Pieces of Eight
18 How to Rate a Record 19 Album Covers: Pro & Con
18 Tops in Singles 20 Album Reviews
24 The Wonderful World of Ed Sullivan
WHAT'S NEW? WHAT'S UP?
4 Information Booth
12 Earl Wilson's Inside Story
6 What's New from Coast to Coast
84 Photographers' Credits
SPECIAL: YOUR MIDWEST FAVORITES
Gordon Hinkley 67
Peter Graves 68
Hal Murray 70
Gene Fullen 72
A Man of Note (WTMJ-TV)
He Cracks the Whip ("Whiplash")
On the Murray-Go-Round (KDWB)
Calling on Gene (WTVN-TV)
JACK J. PODELL, Editorial Director
EUNICE FIELD, West Coast Editor
TERESA BUXTON, Managing Editor
LORRAINE BIEAR, Associate Editor
ANITA ZATT, Assistant to Editor
CLAIRE SAFRAN, Editor
JACK ZASORIN, Art Director
FRANCES MALY, Associate Art Director
PAT BYRNE, Art Assistant
BARBARA MARCO, Beauty Editor
,,t».
TV Radio Mirror is published monthly by Macfadden-Bartell Corporation, New York, N. Y. Executive, Adver-
tising and Editorial Offices at 205 East 42nd St., New York 17, N. Y. Editorial branch office, 434 North Rodeo
Drive, Beverly Hills, Calif. Gerald A. Bartell, Chairman of the Board and President; Lee B. Bartell, Executive Vice
President; Frederick A. Klein, Executive Vice President for Publishing-General Manager; Robert L. Young, Vice
President; Sol N. Himmelman, Vice President; Melvin M. Bartell, Secretary. Advertising offices also in Chicago
and San Francisco.
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All other countries, $5.50 per year. Change of Address: 6 weeks' notice essential. Send your old as well as your
new address to TV Radio Mirror, 205 E. 42nd St., New York 17, N. Y.
Manuscripts and Photographs: Publisher cannot be responsible for loss or damage.
Foreign editions handled through International Division of Macfadden-Bartell Corporation, 205 East 42nd Street
New York 17, N. Y. Gerald A. Bartell, President; Douglas Lockhart, Sales Director.
Second-class postage paid at New York, N. Y., and other additional post offices. Authorized as second-class
mail by the Post Office Department, Ottawa, and for payment of postage in cash. Copyright 1962 by Macfadden-
Bartell Corporation. All rights reserved. Copyright under the Universal Copyright Convention and International
Copyright Convention. Copyright reserved under Pan American Copyright Convention. Title trademark registered
in U.S. Patent Office. Printed in U.S.A. Member of Macfadden Women's Group.
Dr. Margaret Mead, noted authority on human relations, says, Every WOItiail
who lives with the loneliness of her own emotional
problems will want to read this understanding book."
AVAILABLE N0W...0NLY FROM PUREX...AND FOR ONLY 25*
Every woman will want to read this book! If
you feel overwhelmed at times with the problems
you face as a woman, a wife, a mother — reading
this book will be like discovering a new friend
who really understands you. Because this book
brings out into the open the fears, the frustra-
With a recognizable portion of any Purex package or label
tions, the heartaches every woman must live with
in our complex contemporary society. Based on
the award-winning Purex TV Specials for Women,
this book distills actual case histories, intimate
conversations with many women. This is a book
you just can't afford not to read !
SPECIAL FOR WOMEN
P.O. Box No. 82, New York 46, N. Y.
Enclosed is 25£ and a recognizable portion from a
Purex product package or label.
Please send my personal copy of
"SPECIAL FOR WOMEN"
NAME
ADDRESS-
CITY
You'll find the Woman's Touch in every Purex product
ZONE.
.STATE.
©1962, PUREX CORPORATION LTD.
LAKEWOOD. CALIFORNIA
/or x>\
A Dancing Start
/ would like to know something about
Sheila James, the young actress who
appears as Zelda on the "Dobie Gillis"
show.
V.A.B., Toms River, N.J.
Although she has become well known
in the past few years as the man-
chasing, nose-wiggling Zelda on "The
Dobie Gillis Show," Sheila James has
actually been acting since the age of
seven. Born in Tulsa, Oklahoma, Sheila
moved to Los Angeles at the age of
two and began taking dancing lessons
at seven. Impressed with her talent, her
instructor sent Sheila to be interviewed
by Penny Singleton for her new radio
show. She got the part and scored a hit.
While appearing on the road, the young
actress was chosen for the role of
Jackie on the Stu and June Erwin show,
"The Trouble with Father." The part
lasted five years. ... In addition to her
running part on "Dobie Gillis," Sheila
has appeared on "General Electric
Theater," "My Little Margie" and "The
Loretta Young Show," among others.
. . . Sheila lives at home with her par-
ents and teen-aged sister Jeri Lou, who
is also an actress. In her spare time,
Sheila writes novels and poetry, swims,
plays tennis and the guitar. — Ed.
Some Quickies
Could you please tell me the birth-
date of Dorothy Pr ovine?
A.E., Bear Creek, N.C.
She was born on January 20, 1937.
—Ed.
Please tell me if Betsy Palmer's hus-
band is a doctor or a dentist.
B.N., Reading, Mass.
Her husband is an obstetrician. — Ed.
Where was Dick Van Dyke born?
A.F., Potter sville, Mo.
He was born in West Plains, Mis-
souri, and reared in Danville, 111. — Ed.
How tall is Grant Williams?
L.D., Rochester, N.Y.
He is 6'1" tall.— Ed.
Is Leslie Nielsen married?
D.G., Sand Creek, Mich.
He is married and has a two-year-old
daughter. — Ed.
a sj Dear Dick
For all those readers who have writ-
ten requesting information as to where
they can write young Dr. Kildare, here
is his studio address:
Dick Chamberlain
c/o NBC-TV Studios
3000 West Alameda
Burbank, Calif.
Theme Songs
IS ML SI
For those readers who are especially
interested, here is a list of the theme
songs of some of the popular CBS-TV
programs:
Art Linkletter's House Party — "You"
Captain Kangaroo — "Puffin Billy"
Danny Thomas Show — "Londonderry
Air"
Garry Moore Show — "Thanks for Drop-
ping By"
Ichabod and Me— "Girl I Left Behind
Me"
Jack Benny Program — "Love in Bloom"
Red Skelton Show— "Holiday for
Strings" and "Our Waltz"
Tell It to Groucho— "Groucho's Pad"
Your Surprise Package — "Tick Tac
Toe"
The Brighter Day— "Prism"
CBS Reports — "Appalachian Spring"
Ed Sullivan Show — "There's No Busi-
ness Like Show Business"
Father Knows Best — "Waiting"
Frontier Circus — "Frontier Circus
March"
G-E College Bowl — "Hurry Hurry
Hurry" and "Second Elizabeth"
The Guiding Light — "Romance"
Ted Mack and the Original Amateur
Hour — "Hurry Up and Wait" and
"Stand By"
Calling All Fans
IS JUL si
The following fan clubs invite new
members. If you are interested, write to
address given — not to TV Radio Mirror.
Buddy Merrill Fan Club, Bill Sum-
mers, 8815 E. Ivanhoe Rd., Indian-
apolis 19, Indiana.
James Shigeta Fan Club, Christina
Schoblocher, 2951 N. Clark St., Chicago
14, Illinois.
The Lettermen Fan Club, Joyce Stan-
ley, 140 S. Beverly Drive, Beverly Hills,
California.
Peter Brown Fan Club, Jean White,
2112 Morning Glory, Fort Worth, Texas.
An Inspiring Piece
Thank you very much for publishing
the poem, "Thou Shalt Not Fear," from
Bud Collyer's book. This is one of the
most inspiring pieces I have read in a
long time.
May I mention that this poem was
read the other day to my husband, who
had fust lost a dear aunt, and it made
him feel so much better.
This poem has meant so much to
both of us that it has been cut out of
your magazine, framed, and is now
hanging in the living rom of our apart-
ment.
C.D.C., St. Catharines, Ontario
Write to Information Booth, TV Radio Mirror
205 E. 42nd St., New York 17, N. Y. We regret
we cannot answer or return unpublished letters.
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Name
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(Please Print)
Go West, Young Man: Memo to
Robert Reed of "The Defenders" In
New York: You may be Interested to
know that a filmtown lovely, Carol
Byron by name, has turned down oh-
so-many dates on Saturday night, just
to ogle nobody but you on TV. Says
Carol, "We met when Bob came to
Hollywood on a p.a. tour, and I'm
hoping he comes again soon." . . . Sultry
Ava Gardner, in Hollywood for a
film, "twisting" from one date to an-
other. Seeing the barefoot Ava on a
dance floor is worth any cover charge.
. . . Eyeful Sharon Hugueny is all
eyes for Alan Pakula, young U-l pro-
ducer. . . . Martha Raye's new beau,
Bob Gallagher, tours with her in
"Wildcat," as it makes the rounds.
&M (jooki
TV fioJjJD f^d)VlO>L
oil ike, 'KeuJs —fbdkl
by EUNICE FIELD
Very Fair Exchange:
Amy Fields, some-
time date of Dick
Chamberlain, has
been playing the role
of a Spanish exchange
student on "The Brighter
Day" and has been getting
mucho fan mail in that Ian
guage. Bostonian Amy no
habla Espaiiol ... so
she enlisted a linguist
gal-pal to help her
answer such letters
in purest Castilian
... on the promise of
wangling a date for her
with Dr. Kildare himself!
A Case in Brief: If you want to give
Roz Russell a gift, don't make it a
briefcase. On the set of Warner Bros.'
"Gypsy," Roz explained, "I did too
many shows as a career woman lugging
a briefcase. Since winding up my con-
tract, I've never carried one of those
symbols of monotony, on or off the
screen." . . . Natalie Wood, who
plays Gypsy Rose Lee, screened sev-
eral films of the strip queen as home-
work for her role. "You know," she told
producer Mervyn LeRoy, "watching
that Lee girl walk, I'm sure she was
born with a built-in Twist."." . . . New
"Have Gun' album features Johnny
Western, composer of Paladin's theme
song. . . . Are Dodie Stevens and Vic
Damone singing for each other???
Like Too Troo, Man: TV's been
slapped for being "too sexy" and
"too bloody." Now they're griping
it's "too true." Ernie Borgnine's role
in "McHale's Men," due for fall
showing, is said to be "hitting too
close" to the most famous PT-boat
skipper in the world, President Ken-
nedy. Sez Ernie, " 'Tain't so, but it
can't hurt the series, so let 'em yap."
. . . Another Ernie is finding TV hit-
ting close to home. Officer Ernie
Gunther of Reseda, California — now
assigned to Patrol Car 54 — has be-
come the butt of precinct gagsters
His radio no longer bleats "Calling
Car 54," but "Car 54, Where Are
You?" What's worse: One cop in TV's
54 is also named Gunther (Toody)!
Joan O'Brien — who
really suffers from
claustrophobia —
was locked in a closet
for fifteen minutes by
Jerry Lewis, during the
filming of his new movie,
"It's Only Money." Upon
emerging, Joan gasped,
"How could you, Jer?"
The comic said airily
"Don't squawk — I just
shrunk your head for
free!" Joan pond-
ered this analysis for
a moment, then said,
"You're right, so I'll take
you to lunch — for a fee
Curing A Ham: Feeling chipper
again, George Maharis tells this on
himself. "When they said it was the
flu, I hollered for Dr. Kildare. When
they found it was hepatitis, I yelled
for Ben Casey. But when I heard
Marty Milner would star by himself
in the 'Route 66Y I'd be missing, I
howled, 'Get me my pants and a
taxi!' ". . . Rita Moreno, flying from
the Manila set of "To Be a Man" to
Japan for TV spec: "First an Oscar,
then the Orient — just call me Happy!"
Fair's Fare: The gamut of show busi-
ness can be found at Seattle's World
Fair. It has nudies, ice shows, ballet,
opera, science and industrial exhibits,
exciting rides, concerts, and a sky
restaurant with revolving view of lakes
and snowcapped peaks. But there's
still no sight like a Hollywood pre
miere — or a Broadway knight striding,
lady on arm, into "Camelot." Busiest
playwright is Edward Albee, with
three new ones in the oven. . . . Eighth
Annual "Genii" Award from radio and
TV women of Southern California wenf
to lovely and loved Spring Byington.
. . . It pays to advertise? Robert <J>.
Lewis bills himself as "the worst disc
jockey in the world." Mm? . . . Troy
Donahue to be an "Hawaiian Eye"?
f(
Rhinestones in the Rough: Vivian
Vance — who said she wouldn't — did!
She'll be back on TV, this fall, in a
new Desilu series starring her pal Lu-
cille Ball (seen at right with hus-
band Gary Morton, strictly off TV).
. . . Brags Jack Bailey, "Sure, 'Queen
for a Day' has sob stories — but we can
swap jolces with the best of them." . . .
"Domestic differences," say Pat But-
tram, on Radio KNX, "are much easier
to iron out when they are dampened
with tears." . . . Chic Myrna Fahey
chirps, "I adore floral hats. When I'm
tired of wearing them, I put them in
a vase." . . . Some talking-horse sense
from Mr. Ed: "That Connie Hines
(who plays Alan Young's wife on the
show) is the sweetest filly on TV!"
Public post office: Gary & Lucy.
Whacks Works: One of our younger
generation, visiting Movieland's Wax
Museum, shook her puzzled head at
the figures of such old-time stars as
Harry Carey, William S. Hart,
Mary Pickford and Marie Dressier.
"Who are they?" she said. "They're
just a bunch of wax candles to me."
The lass was shook-up plenty when,
over his shoulder, Jeff Morrow
snapped, "These candles once lit up
a world of darknes and set men's hearts
on fire." . . . Mike Connors — no
longer walking that "Tightrope" —
will reach the "Turning Point" of his
career with his Screen Gems series. . . .
A model family is Norma Zimmer's
— mother was a Powers gal, sis and
brother are both top-flight models.
7m) r
Star Stuff: Flash bulbs made Shelley
Winters blink — actually, she's anything
but blind to Ty Hardin's charms . . .
even more excited about her dates with
the handsome Bronco than about tak-
ing over Bette Davis's role in the Broad-
way hit, "The Night of the Iguana."
Dramatic as all get-out — any way you
look at it. . . . Petite young Davey
Davison from Norfolk, Virginny — only
three months in Hollywood — racking up
TV credits like there's never gonna be
no tomorrow . . . Keenan Wynn shed
20 pounds for "Target: The Corrupt-
ers". . . . Hope Holliday slimmed to
102 .. . and Dick Boone — who once
weighed in at 210 for "Have Gun" —
is now down to 190, aiming for 180.
Newsome twosome: Shelley & Ty.
Multiplication Doesn't Mean Division:
When David Janssen — alias Richard
Diamond, etc. — was mobbed by fe-
male fans, an astonished spectator
turned to Dave's lovely wife, Ellie, and
asked, "Aren't you jealous?" Ellie's
spur-of-the-moment reply was a bit of
star-wife wisdom. "One-plus-one," she
said, "is a matter for jealousy — but not
a hundred-times-one." . . . Burt Met-
calfe, handsome groom in "Father of
the Bride," met one female fan with
unexpectedly devastating results. A
lady motorist stopped alongside Burt's
brand-new car, yelled, "Hi, Buckleyl"
— and enthusiastically banged her um-
brella on top of his convertible. Left
a right good-sized gash in the roof.
<-
Has the Kookie Krumbled? Already
feuding with the press — who helped
boost him starward before he got top-
heavy and began giving them a hard
time — Edd Byrnes has now taken to
speeding. He must face a jury trial to
save his license from being lifted. . . .
CBS-TV will go for 90 minutes of
curves on July 14th — the Miss Uni-
verse Pageant. . . . Rip Torn, done
with "Gypsy," back East to give his
all to Actors' Studio, whose fall plans
include TV and Broadway. . . . Sylvia
Fine (Mrs. Danny Kaye) going with
a Broadway musical of "The Scarlet
Pimpernel." . . . Sid Caesar's nine
half-hour specials will by-pass Imo-
gene Coca and Nanette Fabray.
He'll husband an all-new team.
Full speed ahead: Edd & his Asa.
Once Upon A Time: There was a
fisher boy who loved a tailor gal and
decided to marry her. All his friends
said, "Don't! A fisher boy and a tailor
gal can't live happily in one place."
But the fisher boy said, "There is a
place where we can be happy — it's
called Switzerland." Then the tailor
gal said, "I'd be losing my burtons to
go there." And she left the poor fisher
boy. So he went back to Hollywood
and bought a house on Edelweiss Drive
where he can nurse his broken heart.
The strangest part of the story: Edel-
weiss is the national flower of Switzer-
land, where the fisher boy once hoped
to be happy. But the tailor gal isn't
happy, either. Still trying to hold on to
her burtons. (Please turn the page)
ofmm
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continued
Field's Choice: Male TV personali-
ties wearing knee-length stretch socks,
'instead of exposing "droopies" to the
camera. . . . Inflation note: Famed
Schwab's, where unemployed actors
could sip a ten-cent cup of Java while
waiting for the big break, now has a
"counter charge" of 35 cents mini-
mum at peak hours. . . . Hal Roach
Jr. filed for bankruptcy. Once owner
of the busiest TV lot here, Hal dis-
closed his 1961 earnings were a mere
$2500. He owes Charlie Farrell and
Gale Storm over $100,000 each, on
contracts. . . . An old Roman law,
which says an engagement ring is
merely a symbol of troth, forced Zsa
Zsa Gabor to return Hal Hayes'
{diamond — but Ann Miller kept hers.
)W r
The Conrads have reason to beam.
Diane McBain salutes hero Quinn.
<r-m +-m
j /////
Eavesdroppings: After saving for
seven years, Bob and Joan Conrad
getting "our dream house." The hill
lot, a hop from Clark Gable's Encino
home, was cleared by Bob and pals.
While they were grading, a neighbor
drove up and chirped, "We hear a Lig
TV star's gonna move in here — great!"
Bare-waisted and masked with mud,
Bob asked, "Why — you a fan of Con-
rad's?" "Naw," said the neighbor,
"but he'll raise property values here-
abouts." ... Of "Saints and Sinners,"
Nick Adams gets 50 percent. John
Larkin plays editor to Nick's repor-
ter. . . . How does pert Brenda Scott
— often seen in "Hazel" — feel about
Fabian? She struggles out of bed at
5 a.m. to go horseback riding with him!
Medicine Show: The Roscoe of "It
Sunset Strip," Louis Quinn, can't bear
the sight of blood. Says Christine
Nelson, his actress-spouse, "He
fainted while getting the blood test
for our marriage license, and now he
runs when I whip out a needle to darn
his socks." . . . Scott Brady is allergic
to hosses and had to get shots during
the shooting of "Shotgun Slade." . . j
Earl Holliman, a rodeo champ in'
NBC-TV's new fall series, "Wide
Country," has a clause in his contract
stating his workday must end by 5:45
— so he can make his daily trip to Us
analyst. . . . That's the voice of Sam
JafFe himself you hear intoning TV's
most profound opening: "Man . . . worn
an . . . birth . . . death . . . infinity."
Person to Person: Every agent told
Doris Day she'd never get Monty
Clift as her co-star ... so Doris put
through her own call to Munich —
where Cliffs doing "Freud"— and
cooed, "Why haven't we done a pic-
ture together?" Always in character,
Monty retorted, "So you won't get a
complex — let's!" . . . When Laurence
Harvey first saw the ads for "A Walk
on the Wild Side," he snorted, "They
warned me I'd be lost among such
lovely girls — but it seems the black
cat has stolen the spotlight from all
of us." . . . These movie people would
really get complexes on TV, where
female-impersonating dogs and talk-
ing horses have the whole show named
after them — and get most of the mail!
"Blackie" Knight and Ed Begley.
Convertible Blonde: Shirley Knight
dons a black wig for "Caesar and
Cleopatra" at Vancouver (B.C.) art
festival. . . . Reports from Blinstrub's
in Boston prove The Lennon Sisters
are no show-biz "lemons" in their first
nitery stint. An S.R.O. opening night
and 8,000 patrons — at $5 minimum —
all week. Father Bill, who devised the
act, says this may start the girls on a
new and profitable career phase. . . .
Waiting for the day every American
home has a color-TV set? Five of seven
Los Angeles channels will be color-
casting in the fall. Prices for sets ex-
pected to drop as programs increase
— we say hopefully. . . . From Rose
Marie: "Never slap a child in the
face — there's a place for everything."
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"What do we learn from . .
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"If a naughty girl tempts you to do something bad
don't do it while God is watching."
When Art Linkletter asks the questions, kids say
the darndest things! (So do the grown-ups
who join him in other fun and games.) Catch them
all, every weekday, on radio's "House Party
And while you're at it, enjoy radio's other
top personalities— Arthur Godfrey, Garry Moore
Rosemary Clooney and Bing— as one great show
follows another every weekday morning on
...
■ w
\1 .
..Jonah and the Whale?"
"People make whales sick."
..David and Goliath?"
"Duck!"
CBS RADIO STATIONS: Alabama Birmingham WATV, Gadsden WAAX, Mobile WKRG, Montgomery WCOV, Selma WGWC. Tuscumbia WVNA Arizona Phoenix KOOL, Tucson KOLD Arkansas El Dorado KELO. Fori Smith KFPW, Little
Rock KTHS California Bakersfield KERN, Chico KHSL, Eureka KINS, Fresno KFRE, Los Angeles KNX, Modeslo KBEE, Palm Springs KCMJ, Redding KVCV, Sacramenlo KFBK, San Diego KFMB. San Francisco KCBS Colorado
Colorado Springs KVOR, Denver KLZ, Grand Junction KREX Connecticut Harlford-Manchester WINF, Waterbury WBRY District of Columbia Washington WTOP Florida Fori Myers WINK, Jacksonville WMBR, Miami
WKAT, Orlando WDBO, Pcnsacola WDEB, St. Augustine WFOY, Sarasota WSPB, Tallahassee WTNT, Tampa WDAE, West Palm Beach WJNO Georgia Albany WGPC, Athens WGAU, Atlanta WYZE, Augusta WRDW,
Columbus WRBL, Gainesville WGGA, Macon WMAZ, Rome WRGA, Savannah WTOC, Thomasville WPAX Idaho Boise KBOI, Idaho Falls KID Illinois Champaign WDWS, Chicago WBBM, Danville WDAN. Decatur WSOY,
Peoria WMBD, Ouincy WTAD, Rock Island WHBF, Springfield WTAX Indiana Anderson WHBU, Fort Wayne WANE, Indianapolis WISH, Kokomo WIOU, Marion WMRI. Muncie WLBC, South Bend WSBT, Terre Haute WTHI
Iowa Cedar Rapids WMT, Des Moines KRNT, Mason City KGLO, Oltumwa KBIZ Kansas Topeka WIBW, Wichita KFH Kentucky Ashland WCMI, Hopkinsville WHOP, Lexington WVLK, Louisville WKYW, Owensboro WOMI,
Paducah WPAD Louisiana New Orleans WWL, Shreveport KCIJ Maine Portland WGAN Maryland Baltimore WCBM, Cumberland WCUM, Frederick WFMD, Hagerstown WARK Massachusetts Boston WEEI. Pittsfield WBRK,
Springfield WMAS, Worcester WNEB Michigan Adrian WABJ, Bad Axe WLEW, Grand Rapids WJEF, Kalamazoo WKZO, Lansing WJIM, Port Huron WHLS, Saginaw WSGW Minnesota Duluth KDAL, Minneapolis WCCO
Mississippi Meridian WCOC Missouri Joplin KODE, Kansas City KCMO, St. Louis KMOX. Springfield KTTS Montana Billings KOOK, Butte KBOW, Missoula KGVO Nebraska Omaha WOW, Scottsbluff KOLT
Nevada Las Vegas KLUC New Hampshire Keenc WKNE, Laconia WEMJ New Jersey Atlantic City WFPG New Mexico Albuquerque KGGM. Santa Fe KVSF New York Albany WROW, Binghamton WNBF, Buffalo WBEN.
Elmira WELM, Gloversville WENT, Ithaca WHCU, Kingston WKNY, New York WCBS, Pittsburgh WEAV, Rochester WHEC. Syracuse WHEN, Utica WIBX, Walertown WWNY North Carolina Ashev.lle WWNC, Charlotte
WBT, Durham WDNC, Fayettevillc WFAI. Greensboro WBIG. Greenville WGTC North Dakota Grand Forks KILO Ohio Akron WADC. Cincinnati WKRC, Columbus WBNS, Dayton WHIO. Portsmouth WPAY.
Youngstown WKBN Oklahoma Oklahoma Cily-Norman WNAD, Tulsa KRMG Oregon Eugene KERG, Klamath Falls KFLW. Medford KYJC, Portland KOIN. Roseburg KRNR Pennsylvania Altoona WVAM. DuBois WCED,
Erie WLEU, Harrisburg WHP, Indiana WDAD, Johnstown WARD, Philadelphia WCAU, Pitlsburgh-McKeesport WEDO, Reading WHUM. Scranton WG3I, State College WRSC, Sunoury WKOK, Un.ontown WMBS, William
WWPA Rhode Island Providence WEAN South Carolina Anderson WAIM, Charleston WCSC, Columbia-Cayce WCAY. Greenville WMRB, Spartanburg WSPA South Dakota Rap.d City KOTA, Yankton WNAX Tennessee Chat-
tanooga WDOD, Cookeville WHUB, Johnson City WJCW, Knoxville WNOX, Memphis WREC, Nashville WLAC Texas Austin KTBC, Corpus Christi KSIX, Dallas KRLD. El Paso KIZZ, Harhngen KGBT, Houston KTRH. Lubbock
KFYO, San Antonio KENS. Texarkana KOSY, Wichita Falls KWFT Utah Cedar City KSUB, Salt Lake City KSL Vermont Barre WSNO, Bratileboro WKVT Virginia Norfolk WTAR. Richmond WRNL. Roanoke WDBJ Washington
Seattle KIRO, Spokane KGA West Virginia Beckley WJLS, Charleston WCHS, Fairmont WMHN, Parkersburg WPAR, Wheeling WWVA Wisconsin Green 5ay W8AY, Madison WKOW, Milwaukee WM'l Wyoming Casper KTWO.
Begging Jack's Paar-don. . . .
But Johnny Carson will success-
fully succeed him.
That's my prophecy about how
Carson'll make out, taking over
the "Tonight" show this fall.
Johnny's a funnier guy, strictly
as a comedian; he could be a new
Will Rogers. Johnny's "weak-
ness" is that he's not hot-tem-
pered and given to making violent
attacks on people. The frequently-
uttered comment around Madison
Avenue among those who dont
expect him to be a satisfactory
successor to Jack Paar is: "He's
too nice a guy . . . he'd be better
if he were more of a heel."
First, to set the record straight,
Paar has never been against Car-
son taking over for him. Paar was
for Carson.
A year ago there was a rumor
that Paar wouldn't use Carson
on the Paar show because he
thought Carson overshadowed
him.
"That can't be true," Johnny
told me. "Because he has used me
and I have subbed for him. Fur-
thermore, Paar told me that he
thought I was the one who should
replace him when he leaves!"
So Paar was in Johnny's camp
ahead of nearly everybody.
Grinning, easygoing, relaxed,
■■:■: ..■
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WILSON'S
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Another TV Radio Mirror Exclusive ! Another TV Radio Mirror bonus ! Beginning
this month-and every month from now on-the scoopiest column in any magazine !
12
accustomed to sitting around
Sardi's having a drink, not above
having a date with a young beauty
(his marriage is broken up) ,
Carson's no controversialist. Peo-
ple will not be watching him hop-
ing to see somebody get massacred.
The fact that he couldn't im-
mediately take over for Paar is in
his favor. Paar will have been
off the "Tonight" show long
enough that Carson'll escape some
of the comparison that — regard-
less of his show — would have gone
against him just because people
generally want the old, estab-
lished product.
Being "Mr. Nice Guy" worked
pretty well for Perry Como. I
say something approaching that
will also work for Carson.
There's a magic to that "To-
night" show — due to the hour and
the regularity.
Don't forget that Steve Allen
was gigantic when he was doing
it. It was he who "changed the
sleeping habits of the nation." It
was Allen who "kept more people
awake than coffee." Look at the
stars Steve Allen made on his
Kim Novak tells me she's changed
her mind. Her "no" is now a "yes."
show: Steve Lawrence, Eydie
Gorme and Tom Poston, for
example. And before Allen, there
was Jerry Lester with the old
"Broadway Open House." That
program made Dagmar famous.
It was only when they left that
show that they had trouble. Not
that I think Jack Paar will have
trouble. He's going to be ingenious
enough to keep the excitement,
the battling, the blood-letting
raging, even though on the air
only once a week. That talent —
for excitement — is the one that
Jack possesses probably in great-
er abundance than anybody on the
TV scene . . . and the one that
Johnny Carson lacks.
Don't Print That! Though
some friends of Lucille Ball have
urged her to build husband Gary
Morton into "another Desi
Arnaz" on TV, he doesn't seem
to want to do it. Fact is, there was
a TV series available at Desilu Stu-
dios for Gary, but he preferred
not to get involved in any possi-
ble conflicts with Desi. . . . One
of the most brilliant TV careers
right now is menaced by booze.
. . . Jackie Gleason's still able
to give some orders at CBS. When
Jackie was working on his new
show for the fall, between golf
games at Palm Springs, CBS an-
nounced it adored the new format
and said: {Please turn the page)
Johnny will need those muscles to take Paar's place.
Glenn s away, Connie plays — here, with Bob Logan.
T
V
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13
EARL T± WILSON'S
continued
"Come back to New York and get
to work on it at CBS." Jackie re-
plied, "Send CBS down here and
I can still play golf." CBS did
send a squadron of writers, etc.,
and in that luxurious locale Jackie
worked. . . . Some people think
there's too much sex on TV, but
Frank Sinatra thinks there isn't
enough.
Phil Harris loves to discuss
the greatness of Jack Benny, for
whom he worked for so long. He
just remembered how Benny once
told him, "Phil, I can't work for
Jell-0 for another season. I have
to go with somebody else."
"You have to leave Jell-O!" ex-
claimed Harris. "I thought they
liked you and that you were sell-
ing a lot of their product."
"That's it," groaned Jack. "I
am. They can't make it fast
enough."
Whatever happened to Liber-
ace? He's coming back to TV
in the fall — so he says — with his
own half-hour show, like the old
show "only more elaborate," per-
haps with more candelabras or
bigger sequins. "You don't an-
nounce anything till you have
everything down in black-and-
white," he says mysteriously.
Actually, Liberace has done him-
self a lot of good in show busi-
ness circles with his current night-
club act. It's corny, hokey, and
overdressed with all those real
diamonds — but it's sensational en-
tertainment.
Wish I could ad lib like Garry
Moore. He and Durward Kirby
were running through a sketch
when Kirby accidentally ripped
his costume pants in the seat.
"And I always thought he was too
old for the draft," said Garry.
Before the show, Garry chats
with the audience. One tourist
called out from the rear, "Why are
you so dressed up tonight?" Garry
said: "Well, in case I drop dead,
I'll be ready for the undertaker."
Some of those ordinary-looking
folks- on the Mitch Miller sing-
along (which is moving from
Thursday at ten to Friday at
8:30) have nice little bankrolls
now. The average singer on the
show is good for $25,000 to
$30,000 a year, with records, com-
mercials, etc., added. And one of
the singers hiked his income to
$90,000— he played the stock
market.
Quite an independent kid, that
Connie Stevens. When I talked
to her about her negotiations for
a "Route 66," she said, "The trou-
ble is, I find it so hard to believe
those people. I hear one of the
first scripts is a bomb. . . ."
And she went back to chatting
with some of her chums from
Brooklyn who'd dropped into the
Essex House to talk about all sorts
of other things.
Kim Novak, who once had
some aversions to doing TV, says
she no longer feels that way, and
tells me she'd do some dramatic
things if she found the right ones.
"But there's no point in me going
on the Ed Sullivan show," she said.
"After all, I don't sing or dance."
They're telling a story about
Timi Yuro that you'll probably
hear again and again. Just about
a year ago, the little gal with the
big voice had spinal meningitis.
Doctors thought she'd never walk
again. She surely proved them
wrong. Anyway, the pint-sized
one, who turned out the hit tune,
"Hurt," had just met Frank
Sinatra, who stared at her for a
moment, then walked slowly
around her.
Next month: Exclusive story on
D. Chamberlain and his Clara!
"What're you looking for?"
somebody asked Frank.
"For the plug," said Frank.
"She's gotta be plugged in some-
where. No one has that big a voice
naturally."
You didn't hear much about it
but Mahalia Jackson injured a
foot in an auto accident. They
arranged a special platform for
her when she did the Ed Sullivan
show. Sullivan made an amusing
slip of the tongue when he told the
audience, "Mahalia last year had
an audition with Pope John."
He meant an "audience," he ex-
plained later.
Teresa Brewer wouldn't allow
her eleven-year-old daughter to
wear high heels to the studio
to watch her mother perform.
"Heavens," exclaimed Teresa —
who's anywhere from four-feet-
eleven to five-feet-one, depending
on her mood — "then she'd be big-
ger than I am."
(In an interview with us,
Teresa revealed that her head's
bigger than her waist. "And I am
not a big head," she insisted.)
Otto Preminger got badly
miffed when doing the "Calendar"
14
show because he was cut off the
air just as he was about to make
his point. His speech had run
overlong and off he went.
"Why didn't you have one of
those fellows stand in back of the
camera and give me the zzzltttt
(running his finger across his
neck, signal for the cutoff) when
time was running out?" Otto de-
manded. Everybody apologized,
he was asked to tape some more
material for next day's show, but
Otto shook his head and insisted
there should have been a zzzltttt.
Shelley Fabares, the flouncy
youngster on the "Donna Reed
Show," who's the niece of Nan-
ette Fabray, has another song
ready for her, to follow up the
success of "Johnny Angel." It's
the work of Lyn Duddy and
Jerry Bresler, and it's tentative-
ly titled, "I'm Sorry About It, Mrs.
Johnson, But I Can't Baby Sit Any
More."
Fearless Forecasts : Eddie Fish-
er isn't likely to do TV immedi-
ately because he's too skinny. He's
got to fatten up first. Curiously,
some sponsors, who wouldn't have
touched him when he broke up
with Debbie Reynolds, now re-
gard him as sympathetic, due to
Liz having flung him out of the
villa. . . . Word's around that the
Carol Burnett — Julie Andrews
special to be aired in June — hav-
ing been taped at a Carnegie Hall
concert — is so good that nobody,
but nobody, could botch it up.
All the way to Honolulu, I
phoned Henry Kaiser about his
plans for a new Tuesday night
CBS show, "Kaiser Presents the
Lloyd Bridges Show."
I could picture the old boy sit-
ting there with his feet in the
Pacific — and I frankly wished
I could be there again talking to
him . . . drinking one of those
rum drinks, the mai-tais, I think
they call them.
"Hello," he said. . . . Didn't
offer me a trans-continental, trans-
oceanic drink at all.
All business! He said his other
shows on ABC didn't hold up on
their ratings, so he's trying Lloyd
Bridges. He's just crazy about the
guy when he's dried off and not
under water. "He's going to play
an author journalist," Kaiser said.
"He gets into scrapes all over the
world. . . ." It was a nice talk . . .
but I'm still thirsty for a mai-tai.
Shouldn't there be a loyalty test
for some of the stagehands of the
big shows? Do the bosses know
that while some of the biggest
dramatic stars are on the air be-
ing dramatic, the stagehands have
tuned to one of the auxiliary sets
to watch the baseball games?
One of the big stars got several
writers to write him some night
club material practically for free
— by tossing them a little party.
Afterward, big-heartedly, he gave
them cuff-links. But, so the story
goes, he said to two of the writers,
who are a team, "Here, you two
boys are so close together ... so
I'll just give you one cuff-link
apiece." — The End
P.S. on Eddie: Losing weight — -
but gaining TV-sponsor interest.
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A wonderful way to win extra pocket
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Starting in July TRUE STORY Magazine and
continuing for the next five issues.
Ona of Hollywood's steadiest two-
somes: Johnny Mathis, Miriam Colon.
ON THE RECORD
:.£*
JULY 1962
Bobby Scott
Music Editor
■<#
} /A
Judy Garland's on-again, ofT-again
marriage to Sid Luff is now off.
Margarita Sierra, with George Nader,
cha-cha-ing from "SurfSide 6" into movie.
MUSIC
MAKERS
IN THE
NEWS
'■¥■
*%
^vhftT*. "^
•wj&fc'
Fortifying themselves for the next
Twist: Rod Lauren, Jenny Maxwell.
Teen singer Dodie Stevens — busy again —
talks behind back of date Russ Titleman.
f
| .-..'•■■':" .
Edie Adams, picking up the pieces,
has friend* like Milton Berle to help.
Andy Williams, preparing for a fall
TV show, takes his bride on the town.
T
V
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17
ON THE RECORD
18
HOW TO RATE
A RECORDING
• From time to time, in my record
reviews, I'll use the word "reading."
This pertains to the lyric exclusively.
The question of what is a good or bad
"reading" is sometimes very difficult to
judge. The criterion is generally: "How
well is the story told?" But, strangely,
it's not all that easy to judge. The tune,
itself, if very well-known, can be decep-
tive; your brain already has the lyric
laid out for you in front of each new
phrase. Generally the artist, if a strong
stylist (as opposed to a straight "singer-
of-songs"), takes these familiar sur-
roundings as a green light to indulge
himself or herself in musical stylizing.
This is as it should be.
But, unfortunately, here is where am-
biguity steps in. The standard, like
litmus paper, changes its color. Now
it's "Well, I know the tune" — but what
comes across more pointedly, now? Is
the stylization so freely sprung that we
begin to hear words of no primary value
exploited at the expense of the vital
parts of the lyrical message? Are the
rhymes being obscured? Or, are we
aware that the new colorings, no matter
how stylistic, are instilling words with a
new and perhaps fresher and deeper
meaning? These are some of the
questions to ask.
Good "reading," incidentally, has
never been the property of any one dis-
tinct branch of popular music. Sinatra,
among the crooners, has repeatedly
come up with marvelous readings.
"Tennessee" Ernie Ford, in the country
area, also reads exceedingly well. Nat
"King" Cole, though strongly on the
quiet side, is always considerate of the
story he's telling. Ray Charles, in spite
of his singular and personal style,
rarely misses the mark. This list, I'm
sure, comes as no great revelation to
anyone! But, I've left off a multitude
of story-telling talent.
The highly stylized Dinah Washington
and Sarah Vaughan always find ways,
you'll notice, to make the story live. On
the other hand, Vic Damone works
closely with the melody but picks the
words to shade, and always uses his
dynamic range (from whispers to full-
throated tones) to advantage. There
are, of course, singers who read well,
but have a limited range of dynamics.
Subsequently, they are pleasant but
hardly exciting. But, here we move
into the area of taste. And that, decid-
edly, is everyone's own business.
_
TOPS IN SINGLES
1) Don't Turn Around/Hush Now Sally, Journeymen (Capitol) — Both
sides exceedingly strong! (See Special). Good group with long-lived potential.
Great songs with the lean on "Don't Turn Around." You won't turn the dial
much to hear this one.
2) Lovers Who Wander /Born To Cry, Dion (Laurie) — Two sure bets
for the hit charts from the driving voice of Dion. Awful good follow-up to
"The Wanderer." The tunes also were written by Dion. Very strong.
3) I Guess I'll Never Stop Lovin' You/Sneaky Alligator, La Rells
(Liberty) — Here's one of the popular singing groups making a powerful bid
for honors. "Never Stop Lovin' " is the side. Lead voice-and-group type arrange-
ment. Watch this one. (Flip side is no winner.)
4) Hassie/The Flame's Gone Out, Ronnie Isle and the Yo-Yo's (Okeh)
— A very strange tune but possessing that quality. Strong on the rhythm side.
Ronnie does a first-rate job of shouting! Rare, but strong!
5) Wind-up Toy/ Caravan Of Lonely Men, Tony Richards (Carlton) —
A strong coupling of good tunes and strong deliveries. "Wind-up Toy" could
be a sleeper. Good arrangement on "Caravan."
6) Walk On The Wild Side, Part I and II, Jimmie Smith and the Big
Band (Verve) — A jazz artist bucks the. single market and in fine fashion.
Definitely, Part II is the one to grab juke-box and air play. Very strong! The
wild organ of Smith with a shoutin' band plus a great movie theme. Look out!
7) Chapel Of Tears/Funny, Gene McDaniels (Liberty)— That "Tower
of Strength" and "Chip, Chip" boy is at it again. "Chapel" is the side. Ray
Charles-ish kind of ballad. Could get under the wire. Fine performances on
both sides.
8) Tell Me What He Said/I Apologize, Helen Shapiro (Capitol)— This
record should be up high on the list. It's a great record. Good tunes and
arrangements. Fine job of performing by this deep-throated, J. P. Morgan-
styled thrush. Watch this sleeper!
9) Mine All Mine/Look No More, Little Eddie (Liberty)— "Mine All
Mine" definitely the stronger. Eddie gets a rendition favorably to the market.
It's a bit underweight, but who knows!
10) Love Theme From Lolita/Look No Further, Leroy Holmes
(MGM) — An enchanting theme from the Hollywood studios. Sure to be a
good runner. "Lolita" theme, the heavier. Flip-side pleasant but not for the
charts.
SPECIAL REVIEW SINGLES
Don't Turn Around/Hush Now
Sally, The Journeymen — (Capitol) —
Here's a group that's like most of the
newer folk-style groups in make-up,
with one notable exception: they sing
beautifully together, with a fantastic
sense of pitch and clarity. They also
have the magic ingredients: The right
tune, "Don't Turn Around," which will
hit the younger set as well as the old-
sters, and an interpretation musical as
well as commercial. The quality of the
tune is in-between a folk-ballad and a
regular pop song. The arrangement is
"right as rain." The added plus is the
lead voice, who sings well enough to
sing on his own! If it ain't a hit, I'll
eat the record!
It's a big hit for The Journeymen, three
young fellows who have turned out the
best single disc we've heard in months.
■■■"■• ■'■: M : ' ''
tfi,.
PIECES OF EIGHT
• Jackie Wilson, well again, after accident, is shouting in fine form on
his new Brunswick album release. . . . Another compilation of "Greatest Hits" on
Capitol's "Starline" series features Kay Kyser and his gang rattling off his
big ones, Tennis, anyone? . . . RCA Victor has Sam Cooke twistin' on his
new album. ... On the classical .side, Angel Records has a marvelous piano
album by the exceptionally talented Russian pianist, Sviatoslav Richter.
Teresa Brewer's new Coral album is all slam bang, from the Gay '90s
to the Rockin' style. . . . Camden, the $1.98 RCA Victor line, has the "Living
Strings" traveling again. The title, "Souvenir D'ltalie." Good for the money.
Command Records, possessors of the finest line of stereo recordings, added
two more to the list. "Vibrations" with Enoch Light and the band and "Roman
Guitar" with Tony Mottola's smaller ensemble. Both excellent sound ventures.
Atlantic has added some new jazz packages to their already impressive list.
"Herbie Mann," live from the Village Gate, and Charlie Mingus' always vital
excursions in another.
Gene Kelly, Judy Garland, Howard Keel and William Warfield are
just a few of the stars on the new M-G-M album, featuring the best tunes from
the movie screen.
Steve Lawrence, with the able backing of Don Costa, came up with a
heck-of-a-good single, "The Lady Twists," or something resembling that title.
Should get a lot of air play.
Rumor has it that this year's Newport Jazz Festival will be televised
nationally. At least, a good part of it.
The Twist albums have been coming in less frequently to your reviewer.
(Not that they constitute a potion of pain to said reviewer, but a good ninety
percent are second-rate attempts.)
Dave Brubeck's FM station, WJZZ in Bridgeport, Conn., is having. some
financial difficulties. Any help is graciously accepted.
Bobby Darin is coming East for an engagement at N.Y.'s Copacabana.
Film work has been keeping him busy. . . . George Maharis of "Route 66" is
recording vocally.
ALBUM COVERS:
PROS AND CONS
• It seems that, as we all build record
libraries, some thoughts about the value
and longevity of the containers of the
records should be considered from time
to time.
Among the classical lines, it is your
reviewer's humble opinion that Com-
mand Records has the most outstand-
ing packages. All double- jacketed, the
covers are actually bound like a book
and capable of withstanding a bit of
punishment. (As to their beauty, their
covers are generally first-rate, if not
exceptional in the art department.)
Columbia releases, from time to time,
a gem of a package. Their "Swan Lake
Ballet" package came with a booklet
attached, of some twenty or so pages
full of the history of Swan Lake per-
formances and photographs of the bal-
let artists involved. Of course, this is
not a regular feature with their line.
Angel always encloses a booklet of in-
formation where necessary. The edgings
on their albums, in the binding sense,
are helpful to the life of the packages.
The popular albums rarely get the
long-lived treatment. It might be worth-
while to write the companies of your
favorites and ask that they be packaged
for better wear. (I can't promise you
they'll do anything, but who knows!)
The jazz fans, after years of bad pack-
ages, are finally getting the double-
jacketed deluxe treatment. (At least
from Verve and Impulse.)
The option with flimsy covers is to-
buy the regular albums for records.
(You may recall keeping 78's in
them.) You can throw the cover out
and house them in these book-like jobs.
Of course, it doesn't make for ease when
you begin looking for something.
(Catalogue-style would help. Keep a
listing inside the front page.) At any
rate, these album-holders are avail-
able in a size that will cover LP
records.
One thing to remember is to be care-
ful when buying an album that's cov-
ered with a cellophane wrapper, to slit
the paper just at the opening and there-
by leave a protective covering over the
rest of the jacket. Some people in haste
rip all of it off. This is foolish. A thumb-
nail will suffice to open it sufficiently
enough to slide the record out. Keeping
it intact will preserve the cover art
work, if you so desire. It pays to treat
them well.
19
ON THE RECORD
Your Monthly ON RECORD Guide
20
BROADWAY STAGE
••Cast Album of "No Strings"
Written by Richard Rodgers, featuring
Diahann Carroll and Richard Kiley —
Musical Direction, Peter Matz — Orches-
trations by Ralph Burns (Capitol) —
This is the most lightweight work
Richard Rodgers has ever come up
with. Unfortunately, his lyric writing is
on an entirely different level from his
musical writing. It succeeds at times,
but very infrequently. On the whole,
this score couldn't even bump its way
into the other shows Rodgers has par-
ticipated in creating. It has added to
the quantity of already sad Broadway
shows running ("Subways Are for
Sleeping," "Carnival," etc).
Miss Carroll and Mr. Kiley, for all
their performing ability and vitality,
are not heard to advantage here. The
show lacks, sorely, a first-rate voice.
(In fact, Miss Carroll's flat and biting
sound on "Loads of Love" and "You
Don't Tell Me" is irritating to this
reviewer.)
The orchestrations have no spectrum.
They remain in one groove with blurts
of brass from time to time. Very little
excitement in this area.
I'm told the show (live) plays well
and is playing to good houses. It's
possible it could hurdle these obstacles
in the theater. The recording medium,
though, makes its own demands.
The stronger tunes are "Loads of
Love," "Be My Host" (melodically),
"You Don't Tell Me," "Orthodox Fool"
and "Look No Further."
POPULAR
•••Bobby Darin Sings Ray
Charles (Atco) — Though I strongly
disagree with the idea of Bobby doing
these already "done-up" and warmed
tunes, I'm happy to say the album suf-
fers very little as compared to Ray's
original records. Bobby is perfectly at
ease with allthe material. His sound is
remarkably close to Ray's on several
tracks. (The band arrangements are al-
most note-for-note imitations of the
originals. This reviewer would have
liked to see a change in that depart-
ment.)
Bobby takes care not to give out with
the now famous Ray Charles' hollers,
and justly so. The last thing Bobby
would want anybody to think was that
the album was not done with taste and
respect for one of his favorite artists.
(I assume the thought of someone
thinking it mockery was considered
strongly.)
My favorite is "The Right Time."
The vocal group of girls, who I believe
worked with Ray originally, are here,
too.. They work excellently with Bobby.
The tunes are all winners. "Hallelujah,
I Just Love Her So," "What I Say,"
"Drown in My Tears" and others.
Bobby is certainly to be commended
on his flexibility. Again, I find the idea
a little strange. But the album — not at
all! I have no doubts that it'll sell like
hot cakes — it's an enjoyable tribute
from one growing legend to another
growing legend!
•••Strange Enchantment, Vic
Damone, Orch. conducted by Billy
May (Capitol) — This is Vic's second
effort for Capitol and it's way ahead of
the first album in value. This album
creates beautifully and totally the feel-
ing of the tropical islands of the Blue
Pacific. Billy May's highly pictorial
arrangements, utilizing all the instru-
ments of exotica, lead us through the
magical archipelago with Vic's enchant-
ing and resonant voiee, sitting comfort-
ably, cushioned by the strings and the
constant beguine beat. Like its source,
this album is not flashy, but father per-
meated with the quality of the climate.
Warm and rippling. "Shangri-la," "Ebb-
tide," "Beyond the Reef," "Flamingo"
and "Bali Ha'i" are a few of the gems.
Strong is the thread Vie weaves. Good
photo of Vic on the back of the cover.
Much. . . . Strange Enchantment!
•••Stars in Our Eyes, The Four
Freshmen (Capitol) — This is, a great
group, but this is not a great album.
The idea is a little limiting, considering
these boys are head and shoulders over
most of the vocal groups they pay
tribute to. The most striking and un-
conventional interpretation is the bow
to the Kingston Trio's big hit "Tom
Dooley." It's done a cappella and hardly
folksy, but it's an excursion that few
groups have, the ability to make.
The tunes range through "Shangri-
la," "Standing on the Corner," "Opus
One," "Green Fields," "Love Is a Many-
Splendored Thing" to distaff honors
-K-K-MC GREAT!
-K-)C^C GOOD LISTENING
-K-K FAIR SOUNDS
-K IT'S YOU ft MONEY
STARS IN ®UR EYES/THE F®UR FRESHMEN
? «
,-
like "In Apple Blossom Time," "Im-
agination" and "Teach Me Tonight."
All in all, an agreeable album but
certainly not what the Freshmen are
capable of doing. They are pace-setters
musically and should be turned loose,
but — it's worth your money.
•••Show-Stopper! Diahann Car-
roll (Camden)— This is on the $1.98
Victor line and well worth the money.
Diahann has been heard better, but
bad this recording is not. (I'm sure
these tunes were cut a while ago and
Diahann has improved greatly.) The
package has value, in that her per-
forming still has the verve, even if
lacking, at times, the polish we know
her to possess now. The arrangements
do little to help her. They are heavy-
handed. She seems at times to conflict
in attitude with them. (Possibly she's
trying hard to pull the ends together.)
The album's chock full of standard
tunes, including "Easy to Love," the
exciting "I May Be Wrong," "This
Can't Be Love" and "Devil Moon."
At this price, you could hardly get more.
MOOD MUSIC
•••The Music of Rodgers and
Hammerstein, Melachrino Strings
(RCA Victor) — Here is a compilation
of certainly some of the best musical
comedy tunes in existence, all scored
and played with professional polish.
The arrangements, at times, leave a bit
to be desired, but Richard Rodgers'
melodies can hold any arrangement to-
gether. To be fair, though, they succeed
more often than not, as in the case of
"Bali Ha'i." Here the South Pacific is
recalled in glowing terms. Exceedingly
picturesque.
The trouble with putting an album
together with tunes by these aces is
there's never enough room for all their
classics. (I missed especially the
"March of the Siamese Children" from
the "King and I.") At any rate, herein
will be found "Carousel Waltz" and "If
I Loved You," "Hello, Young Lovers,"
"Oklahoma," "Surrey with the Fringe
on Top," "It Might As Well Be spring"
and a slew of gems wrought to perfec-
tion by Rodgers and Hammerstein. For
lovers of the musical stage and all gen-
erally classified "relaxers," take a look
into this album.
•••"Love Embers and Flame" is
a new package on Capitol presented by
Jackie Gleason. Lush string settings
with generally soloistic horn playing
plus some vintage standards. All warm
and embracing. . . . ••M-G-M's new
"21 Channel Sound Series" brings
us David Rose and his orchestra. An
album chuck full of oldies recorded
on a high level with a large orchestra.
Arrangements are par-for-the-course.
. . . ••Capitol also brings pian-
ist Lee Evans into the spotlight. Sur-
rounded by soaring strings and mellow
French horns. The album title: "Piano
Plus." A little over-done at times, but
generally palatable offerings. . . .
••Movie themes is the idea of Russ
Conway's new album on M-G-M. The
British pianist runs thru a flock of
screen favorites. "All Time Movie
Favorites" is the title.
JAZZ SPECIAL
••••The Bridge, Sonny Rollins
(RCA Victor) — This is the most recent
Sonny Rollins' recording. He has just
returned from a self-imposed exile. He
retired to "wood-shed," to use the
player's vernacular. "Wood-shedding"
is the searching and studying of new
ideas and the reflective re-hashing of
the old. It may not help everybody but
it has helped Sonny. I remember shortly
before he took himself out of the jazz
scene, his playing had become static.
He even appeared a bit unhappy. (Mind
you, my conjecture.) This happens
often to jazz players of stature, who
are constantly expected to open new
doors at the drop of a hat. It's in-
credibly taxing. The mind and the
heart are not machinery. Sonny sacri-
ficed a lucrative string of bookings,
cutting his throat economically, and re-
tired to think. Certainly, a noble ges-
ture. Such things would not be neces-
sary if the jazz fans were more stable
and less fad conscious. (As I recall,
John Coltrane appeared the comer when
Sonny packed in his playing engage-
ments. Now, Coltrane is under fire.)
The album title, "The Bridge," is
where Sonny did his "wood-shedding."
(Please turn the page)
21
ON THE RECORD
Yes, the high pedestrian walk, above
the traffic on the Williamsburg Bridge,
in New York. He felt that all that play-
ing would disturb his neighbors, so he
used the bridge. A ' considerate chap,
this Mr. Rollins! Well, after two years,
he returns triumphant!
His playing now seems more eco-
nomical. Less of the former boppish
phrasing (and hints even of Lester
Young), more concentrated musical
thought. The ballads are done as bal-
lads with very little or no gymnastic3.
He also appears to have absorbed
nothing of the new nihilistic movement
in jazz known as "The New Thing." His
musical attitude seems now much more
personal than contemporary, the solos
are light and lean. The simplicity of
these vehicles infers their directness as
opposed to the current fad in jazz of
beckoning us righteously into darkness.
There is no doubt in this reviewer's
mind that the retreat has paid off.
His current group is heard here. The
always fertile and sympathetic Jim Hall
is heard on guitar, with Bob Cranshaw
on bass, and Ben Riley and H. T.
Saunders splitting the drumming.
"Without a Song," usually heard as
a ballad, is done in a light, swinging
groove. Also here are "You Do Some-
thing to Me," "God Bless the Child,"
"Where Are You" and two Rollins
originals, "The Bridge" and "John S."
All first rate. Nothing could make me
happier than to see Sonny back again.
I hope he'll not vacation again for a
long, long time.
COMEDY
****Borge's Back — Recorded
Live! — Victor Borge (MGM) — Borge
the ad-libber, Borge of wrong notes,
Borge of the absurdly funny demoli-
tion of language, Borge the exception-
al, Borge the Greatl This is a definite-
ly unique talent. He has mastered even
the use of silence! This album is mur-
der! Having spent some time with Borge
one evening in Omaha, Nebraska, I
know how incredibly funny his facial
expressions are. Believe me, that's the
only thing missing in this package. The
bits of business he covers range from
his general introductory remarks to his
audience, which I'm sure could make
an album itself, to his own ideas about
changing language, to the now famous
Borge pianistic sojourns. Every bit of
it instilled with Borge's own brand of
marvelous nonsense. I could give you
examples of some of it, but it would
lose in the telling. Just go out and buy
it! Highly recommended!
CLASSICAL
****Rachmaninoff — Piano Con-
certo No. 3, Opus 30 — Byron Janis,
Pianist, Antal Dorati, Cond. — London
Symp. Orch. (Mercury) — This work
is the baby brother of the Second Con-
certo. It is an infinitely more subtle
work, though it does not enjoy the
Second's popularity. Rachmaninoff often
echoes the Second here, but here it is
a more integrated concerto we hear.
The statements of theme are anything
but rhetorical. It's a growing work.
Slowly it appears, slowly it develops.
Always in evidence, the brooding and
melancholy, the constant use of the
minor sub-dominant, in the major mode
which has the quality of putting tears
in the eyes of smiling faces, the flow-
ing, rippling, pulsing lines, crossing
from the piano into violins and back,
always the emotional, the touching, al-
ways Rachmaninoff! Byron Janis plays
the work beautifully. His range of dy-
namics, his fantastic ways of playing
exceedingly hard things, with a quiet,
crystal-like feeling, the attack, full of
body, when needed. (It's this review-
er's humble opinion that Janis is our
finest young pianist.) He certainly
brings it off. The recording is one of
Mercury's 35mm. Series and has the
finest sound. Highly recommended.
****Wagner — (Magic Fire Music
— The Ride of the Valkyries — Entry of
the Gods in Valhalla — Siegfried's Rhine
Journey — Siegfried's Funeral March)
— William Steinberg Cond. The Pitts-
burgh Symphony Orch. (Command
Classics) — The marriage of the most
updated recording techniques (like
stereo and, in this case, 35mm. tape
stereo) and the music of the romantic
giant, Wagner, who, himself, was ob-
sessed with dynamics, is one to investi-
gate. Here the clarity and balance of
sound on the recording definitely makes
for a more enlightening look at the
music. Your reviewer was struck dumb
by the opening of "Dawn and Sieg-
fried's Rhine Journey" (from the opera
"Gotterdammerung") on side two of
the recording. Aside from the absolute
genius in the score of Wagner, William
Steinberg's handling of this is beauti-
fully controlled. It grows quietly into
a surging mass of sound, building
transparently through the dawn-like
string figures which overlap in Wag-
ner's natural leitmotiv fashion, to a
stunning climax with the brass assum-
ing the dominant role. Steinberg takes
care to end each repetition of the strings
quietly, so as to let the underneath
strand come out at its beginning and
conversely to edge the bottom and let
the upper sing again. (Always build-
ing in volume and intensity.) The
35mm. recording technique adds to the
beauty. It's what, to draw an analogy,
MB?
++++ GREAT!
+++ GOOD LISTENING
-K-K FAIR SOUNDS
-K IT'S YOUR MONEY
the wide screen is to films. Another strik-
ing moment is the "Ride of the Val-
kyries" (from "Die Walkiire"). A ring-
ingly effective piece, which is brought
to light with all its joy of orchestration
intact] This recording surpasses Stein-
berg's older album for Capitol im-
measurably. The latter is, of course,
quite old. Here, what happens at the
recording session gets onto the vinyl
and doesn't remain for posterity on
tape shelves. This step ahead gives the
phonograph the chance to stand next
to tape, hurdling the transferral ob-
stacle. A wonderful compilation, fine-
ly brought to life by a first-rate con-
ductor and orchestra and marvelously
recorded. Recommended. (Incidentally,
I could write a review of the cover-
jacket. It's indestructible.)
rSchubert-Symph. No. 9 in C
laj. ("The Great")— Otto Klemperer
]!ond. — Philharmonic Orch. (Angel) —
This symphonic masterwork composed
in the spring of 1828 foretells, musically,
nothing of the foreboding death which
is to come to Schubert in November of
lat same year. His age, at passing, an
incredible thirty-one years. This work
fas considered in Vienna but passed
off as too difficult to play. It waited
patiently on the shelf for ten years
ifter its creator's demise before Robert
Schumann discovered it and prevailed
lpon Mendelssohn to conduct it pub-
licly. The work, as compared to the
lozart and Beethoven monuments of
form, is structurally weak — but it is a
joy of lyric only expressed by the
lasterwriter of Lieder. It bubbles with
an unconventional lack of restraint. It
long and, to people unprepared for
the journey, it might be wearying. But
to those interested in the beauty of
line this is home. Otto Klemperer puts
lie orchestra beautifully through its
paces. Strong here, light there, and
pointed when meeting and holding the
iread of continuity. The recorded
»und is not all it could be (mono) , but
cannot hurt. Strangely enough, when
lendelssohn rehearsed this work for
its initial performance, the string play-
rs laughed at the last movement,
lendelssohn disgustedly withdrew it
rom the program. Fate always has
rony up its sleeve. Recommended.
MOVIES
•Original Soundtrack of "State
Fair," Rodgers and Hammerstein — Pat
Boone, Bobby Darin, Ann-Margret, Tom
Ewell and Alice Faye (Dot) — This cer-
tainly was a hopeless venture. It suffers
terribly by comparison with the origi-
nal. Pat Boone is utterly boring! The
tune, "Willing and Eager," a duet by
Mr. Boone and Ann-Margret, succeeds,
unintentionally, to a level of high com-
edy ! It seems a shame that these tunes,
although not the very best Rodgers and
Hammerstein, have to be clobbered like
this. "That's for Me," the tune Haymes
sang in the earlier flick, and Boone does
here, is hopelessly bland. Strangely,
Darin does a bit better than his cohorts,
but even he seems like he's over-deliber-
ate. His falsetto tones here are the first
I've ever heard from him. About Ann-
Margret there is little to be said, other
than she is quite a looker.
Certainly this is not the way to revive
musicals on the screen, at least not with
this kind of sound track. Lots of luck!
SPECIAL
••••The Midnight Special, Har-
ry Belafonte (RCA Victor) — The great
pro barrels through again with another
driving folk album — an ail-American
vehicle with overtones of blues, gospel,
jazz, work-song and just plain hollerin'!
But this album, mind you, is not just
folk-fare. Harry, through his marvelous
performing ability, hurdles the folk
traditions and strikes at the heart of
pure unbridled entertaining. He bends
the material his own personal way, but
takes care not to disturb the fundamen-
tal directness of lyric or dilute the musi-
cal fire inherent in this folk material.
The projection is incredible when
one thinks of how hard this recording
medium is with its lack of the visual.
The arrangements are all sympathet-
ically written by Jimmy Jones. They
range in sound and texture from Harry's
personal small ensemble, which is char-
acterized by guitars and rhythm, to
blapket-Hke string settings and crash-
ing brass. (The solos of Jerome
Richardson on saxophone deserve much
attention, as well as Bob Dylan's har-
monica-playing.) Harry meets each
level of the band skillfully. They are
soft together and roar together.
The tunes include "Memphis Tenn.,"
the log-rolling "Did You Hear About
Jerry," "Crawdad Song," a decidedly
different "On Top of Old Smokey,"
"Muleskinner," the gospel-like "Mi-
chael, Row the Boat Ashore," the title
piece and some other steamrollers]
It would seem, if I'm allowed a hum-
ble opinion, that Belafonte seems freer
on this album than he has on several
preceding ones, and it may possibly be
the nature of the material here. His
Calypso tunes are very demanding of
form and to play with them in an im-
provised fashion is "beckoning trouble
to ya," to use a colloquialism. May we
hear more of this unrestrained Bela-
fonte ! Much credit due to all connected
with this vital package. Don't miss it!
I repeat: Don't miss it!
23
In the first three months of
1962, Chubby Checker racked
up about $376,000 in album
sales, by-products and per-
sonal appearances. Says his
manager, Kal Mann: "Not
long ago — July, 1960 — Chub-
by and I almost flipped when
I got him $100 per night for
II nights, in Harry Levy's
Wildwood, N.J., night club.
That was $1,100 more dough
than we'd ever seen, but I said
to Harry: 'Suppose Chubby's
new record — "Let's Twist
Again" — becomes No. 1 in the
country.' Harry chuckled and
said in that case he'd triple the
$1,100. And, by gosh, that's
exactly what happened, so we
got $3,300." . . . The Nick
Mayos (Janet Blair) ex-
pecting. . . . Pat Boone's
wife recuperating, surgery. . . .
Bob Young's daughter, Babs,
and designer Tom Bebe set
the date. . . . The Mickey
1 Rooneys named him Michael.
. ... Rick Nelson and Tom
Harmon's daughter, Chris, at
Arthur Murray's. . . . Juliet
Prowse and Mike Garth a
big deal. . . . Peggy Lee is
the sultriest canary in show
biz. Her eyes and her tones
project a boudoir quality . . .
even her musical arrangements
accent the Lee mystique. No
other girl singer projects so
much sensuousness. Contrast
the let's be pals, scrubbed-face
technique of Mary Martin,
Rosemary Clooney, the Mc-
Guire Sisters, Dinah Shore,
Connie Francis, Doris Day,
Martha Wright, Teresa Brew-
er. In the Peggy Lee league
are Lena Home, Julie Wilson,
Fran Jeffries, Diahann Car-
roll, Polly Bergen, Jane Mor-
gan, Carol Lawrence — but
Peggy is No. 1 in that depart-
ment. . . . Edie Adams Kovacs
and Joe Mikolas a twosome.
. . . Connie Francis European
tour a blockbuster . . . Eliza-
beth Taylor, now 30, has
been married four times. Older
men got along best with her:
Mike Todd was 48, twice her
age, when they were hitched
in Acapulco; Michael Wild-
ing was twice her age when
they were wed in 1952. By
contrast, Eddie Fisher is only
four years older — and Rich-
ard Burton only seven. . . .
But I'm thinking back to
Liz's first honeymoon in
June, 1950, at Cannes with
Nicky Hilton, because we were
there. She was 18 and incredi-
bly beautiful. But young Hil-
ton hardly talked to her! Liz
would ride out to the Eden
Roc beach with Mrs. S. and
our daughter, Betty; young
Hilton would ride out later
with me. At the beach, he
spent no time with her. At
day's end, he'd curtly signal
her to go home with him. . . .
Betty had been a bridesmaid
at their Coast wedding. In a
mag article, she analyzed Eliz-
abeth. "Sensitive — generous
and kind of heart — a fine sense
of humor. Not malicious, cat-
ty or mean. Easily hurt by un-
kindness. Almost completely
unaware of her own beauty
and always praising her
friends to the skies." The late
Mike Todd would have en-
cored that analysis of Liz; I
doubt that Eddie Fisher now
would rhapsodize over Liz's
virtues. But, as in the case of
Todd, who was a take-charge
individual, Burton is equally
positive in his approach, and
Liz apparently goes for that
kind of guy. . . . Bob Hope's
son Tony now a Georgetown
grad. . . . Sal Mineo and Lisa
Kean a duet. . . . George Ma-
haris prefers Mimi Weber.
• ■ . The Red Buttons working
out the settlement. . . . Big
shakeup shatters 20th-Fox, any
minute! Both in the East and
the West.
Published by permission of
the Chicago Tribune — New
York News Syndicate Inc.
24
WHO IS SHE??? MEET HER ON PAGE 78
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27
E * ick Chamberlain wanted to relax, it had been a hard day at
the studio for "Dr. Kildare." Now at home, he flicked on the hi-fi,
settled into a deep armchair and casually started to read a maga-
zine. The article was about a man he'd never met — an actor
whose work he was interested in. But as he read, he started to
(Continued on page 82 )
Dianne was first, just the way
everyone expected. But you
may be surprised at wh\
girl is next to marry! <£
The Next LennoiJ
"You make it sound like 'Button, button,
who's got the button,' " complained Janet,
sixteen this June and youngest of the
singing Lennon girls. "After all, falling in
love and getting married isn't a game . . ."
"You're right, honey," their mother,
Isabelle ("Sis") Lennon, nodded approv-
ingly. "Marriage is a serious matter."
"Serious, sure," chuckled father Bill, "but
let's not make it sound like a parachute
jump. The question's only natural. After all,
Kathy's almost nineteen and Peggy's twenty-
one. Let's face it, DeeDee was twenty when
she became Mrs. Dick Gass . . ."
As the Lennons begin thinking about the next wedding in the family, they remember the day
'""USUI
2-J'P
W/
Sister To Be A Bride
Danny, twelve and eldest of the Lennon
boys, came in with a teasing rhyme:
"Peggy, Kathy, Janet— whoah! Which'U
be the next to go?"
So goes the latest pastime of the family
and friends of the pretty and talented Len-
non Sisters, mainstays of the Lawrence Welk
shows. The provocative question of which
will follow sister Dianne into matrimony —
and probably retirement — looms more ur-
gently as time goes by. Both the elder
girls have been dating regularly for years,
while pert Janet has just begun to give the
subject of boys (Continued on page 74)
For Your
Full- Color
BONUS
►
Turn The Page
Dianne married Dick Gass. Seen here: Some of the moments none of the Lennons will ever forget.
Dianne was first, just the way
everyone expected. But you
may be surprised at wh
girl is next to marry !g
The Next LennoiiSister To Be A Bride
"You make it sound like 'Button, button,
who's got the button,' " complained Janet,
sixteen this June and youngest of the
singing Lennon girls. "After all, falling in
love and getting married isn't a game . . ."
"You're right, honey," their mother,
Isabelle ("Sis") Lennon, nodded approv-
ingly. "Marriage is a serious matter."
"Serious, sure," chuckled father Bill, "but
let's not make it sound like a parachute
jump. The question's only natural. After all,
Kathy's almost nineteen and Peggy's twenty-
one. Let's face it, DeeDee was twenty when
she became Mrs. Dick Gass . . ."
As the Lennons begin thinking about the next wedding in the family, they remember the 4#
Danny, twelve and eldest of the Lennon
boys, came in with a teasing rhyme:
" Pe 6gy. Kathy, Janet— whoah! Which'U
be the next to go?"
So goes the latest pastime of the family
and friends of the pretty and talented Len-
non Sisters, mainstays of the Lawrence Welk
shows. The provocative question of which
will follow sister Dianne into matrimony —
and probably retirement — looms more ur-
gently as time goes by. Both the elder
girls have been dating regularly for years,
while pert Janet has just begun to give the
subject of boys [Continued on page 74 1
For Your
Full-Color
BONUS
►
Turn The Page
"ianne married Dick Gass. Seen here: Some of the moments none of the Lennons will ever forget.
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(Gontinued on page 96)
H hatever it cost, moments like
this with Jeff, Steve and Kevin
are worth any price to Chuck.
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Whatever it cost, moments like
this with Jeff, Steve and Kevin
are worth any price to Chuck.
I did for
the sake of my boys
...I went through
with the divorce
for their sake/'
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35
'A
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For Bettye Ackerman's own story,
please turn the page
3
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ttiik
A LADY DOCTO
EXAMINES
VINCE
EDWARDS'
I
%
For Bettye Ackerman's own story,
please turn the page
How the Lady Doctor
Cured Vince Edwards
of Being a Bachelor
"I'm a bachelor who has
urges, now and then," says
Vince Edwards, "to make
the big jump into matri-
mony. Somehow, I always
shied away when I got near
the starting gate. But lately,
working with Mr. and Mrs.
Sam Jaffe, I've been get-
ting a change of heart.
"Those two make mar-
riage seem like the best
chance for happiness in this
troubled world. It's easy to
see they love each other
and — what's more impor-
tant — their love seems to
spill over and touch every-
one who's near them.
"I admire them both,
greatly. They are a well-
read, much traveled and
very cultured lady and
gentleman of show busi-
ness. I've never heard an
unkind word leave their
mouths. Each is exception-
ally cooperative on the set.
Their main concern is for
the cast and crew, for the
success of the show. Maybe
when you're that happy,
you stop thinking about
yourself.
"What more can I say?
I guess by now it's clear
that I respect, admire and
am extremely fond of these
two fine people!"
continued
There's a play making the rounds with the weirc
title, "Oh Dad, Poor Dad, Mamma's Hung You
in the Closet and I'm Feelin' So Sad." Well, with
apologies to that little gem, I'd like to coin a title ex-
pressing my feelings as the woman doctor, Dr. Maggie
Graham, in "Ben Casey." I'd like to call it: "Oh Sam,
You're a Lamb, and Vince, You're a Prince, and Poor
Maggie's on the Rocks Between Two Such Darling
Docs!"
Sam, of course, is my husband, an actor of em-
inence who plays Dr. Zorba in the series— Sam Jaffe.
And Vince — well, Vince is that dark, angry, hand-
some young man who has become, according to re-
viewers, "the hottest thing on TV." Need I mention
the magic name, Vincent Edwards?
In many respects, despite the difference in age,
I see great similarities between Sam and Vince. Per-
haps it's why they are so fond of each other and hold
each other in such high esteem. It may also explain
my own fondness for the frowning young rebel of
our makebelieve hospital. Vince reminds me of Sam,
not in any physical resemblance, but in the sense of
character and emotional depth.
I asked my husband about the friendship that's
grown between Vince and himself. He smiled and
said, "He's the young man I once wanted to be."
When I put the same question to Vince, he sounded
as though he'd been eavesdropping. He said, "I like
Sam because I see in him the man I'd like to become."
All good and well, but how about me — Bettye
Ackerman, a woman and actress — caught between
them? I tell you, there are times when I feel literally
trapped between Sam's hair and Vince's frown. If I
were a more ambitious actress, I think I'd hate them
both. Luckily I'm not, so I just do my best and hope
my efforts won't get lost.
I remember one "Ben Casey" episode where an
alcoholic is admitted to our hospital for the thirteenth
time but still can't break the habit. Something about
that scene moved me deeply. I actually broke down
and cried. It was one of the (Continued on page 87)
38
BEGINNING: A SPECIAL 7-PAGE SECTION ON YOUNG MARRIAGE
In its first few years, a marriage can grow
strong and sturdy, putting down roots that
can last a lifetime. Or it can grow weak,
wither and die. The sad truth is that one
out of every four couples who walk away
from a wedding ceremony, head and hopes
high, will eventually walk their separate
ways into the divorce courts. Why? What
goes wrong in these marriages? What goes
right in the ones that last? In the stories
that follow, we think you'll find important
and surprising answers to these questions.
Mr. and Mrs. Tommy Sands
Mr. and Mrs. David Nelson
/
Mr. and Mrs. Bobby Darin
A SPECIAL 7-PAGE SECTION ON YOUNG MARRIAGE
A
m
Speaking for myself — and I'm
sure June has her own ideas on
tins — the most difficult thing for
a young husband is to realize a
woman's thinking. After the first
two months, the naive fellow be-
lieves he has the whole thing
figured out. For example, wives
often ask for opinions, but that
doesn't necessarily mean that
they want opinions. So you speak
up — until you learn it would have
been wiser to dodge the issue.
Then again, sometimes you de-
liberately give an opposite opin-
ion to what you really think. Now
it looks like you have the situa-
tion licked when things work out
your way. So you win that little
A round — (Continued on page 92)
by DAVID NELSON
A
V
-Ay ^ '■
^
*
*
c
>
/
_
N ;*
-.-i>
42
A SPECIAL 7-PAGE SECTION ON YOUNG MARRIAGE
"It's funny," Sandra Dee Darin admitted, "but I
thought the minute I saw the baby I would love him
and feel like a mother. And-I didn't. The first time they
brought him in to me, I loved the baby. But I didn't
love this baby. I would have loved any baby they
brought in, because I didn't know him yet. It was like
I loved him more inside, because I carried him for so
long. Then when they showed him to me, it was very
hard to associate this with the baby I'd carried.
"So I didn't love Dodd Mitchell like a mother the
first time. It was about the third or fourth time I saw
him that I started to love him. Because by then I knew
what was coming. I knew the face that was going to
come down the hall, and I knew the little body. . . .
"You should have seen me the day I took the baby
home from the hospital. I told Bobby, 'Send the nurse
home.' He said, 'What?' I said, 'Send her home. I'm
taking care of the baby myself.' So I had him send the
nurse home and the maid, too — although the maid
came back the next day to help with the cleaning.
"So there were three people in the house when we
entered — the baby, Bobby and me. I put the baby down
and we were watching him like proud parents and, all
of a sudden, he starts crying. He was hungry. Well,
the nurse had made the formula before she left, so I
just got the bottle out and — I can't figure out how to
put the nipple on! I'm a mother now, taking care of
my own child, and I can't figure out how to put the
nipple on the bottle.
"So I'm only home about an hour, and I'm on the
phone with my mother. (Continued on page 85)
-
I
For Sandra Dee and Bobby Darin, the love song is
now a lullaby — and you'd hardly recognize their marriage!
1
/*
>
A SPECIAL 7-PAGE SECTION ON YOUNG MARRIAGE
I
%
"It's funny," Sandra Dee Darin admitted, "but 1
thought the minute I saw the baby I would love him
and feel like a mother. And I didn't. The first time they
brought him in to me, I loved the baby. But 1 didn't
love this baby. I would have loved any baby they
brought in, because 1 didn't know him yet. It was like
I loved him more inside, because I carried him for so
long. Then when they showed him to me, it was very
hard to associate this with the baby I'd carried.
"So I didn't love Dodd Mitchell like a mother the
first time. It was about the third or fourth time I saw
him that I started to love him. Because by then I knew
what was coming. I knew the face that was going to
come down the hall, and I knew the little body. . . .
"You should have seen me the day I took the baby
home from the hospital. I told Bobby, 'Send the nurse
home.' He said, 'What?' I said, 'Send her home. I'm
taking care of the baby myself.' So I had him send the
nurse home and the maid, too — although the maid
came back the next day to help with the cleaning.
"So there were three people in the house when we
entered — the baby, Bobby and me. I put the baby down
and we were watching him like proud parents and, all
of a sudden, he starts crying. He was hungry. Well,
the nurse had made the formula before she left, so I
just got the bottle out and— I can't figure out how to
put the nipple on! I'm a mother now, taking care of
my own child, and I can't figure out how to put the
nipple on the bottle.
"So I'm only home about an hour, and I'm on the
phone with ray mother. (Continued on page 851
For Sandra Dee and Bobby Darin, the love song is
now a lullaby— and you'd hardly recognize their marriage!
<f.
ȣ*.
A SPECIAL 7-PAGE SECTION ON YOUNG MARRIAGE
smirs
III GIRL
"We wanted each other," Tommy
Sands said. "We didn't let a little
thing like her parents having a
lot of money stand in our way."
He glanced across to the kitchenette
of the tiny New York apartment
where a pretty girl was fixing a
snack. Nancy Sinatra Sands caught
the look, pursed a silent kiss and then went back to slicing the
I (mm. WH/ ^P store-bought coffee cake. . . . They'd been married a year and
ill ■ I if/ Wr^ a na ^' ^ ut not until now had they been willing to talk about
ilPH}^^ \W/ IBB the special problems that had been theirs. They had come from
such different backgrounds; perhaps at first
look the only thing they had in common was
that each came from a broken home. Tom-
my's youth had been spent in poverty, and,
when they met, he was just beginning to
know — for the first
time — what real money
was. Still, he was far from
being in the same finan-
cial league as Nancy's
father. Most girls, whether they're aware of it or not, weigh their husband's virtues against their
father's. In Frank Sinatra's case, there was more than just money on his side of the scale. There
was fame, success, power — and an almost legendary attraction for women. It would be a hard thing
for any young man to balance out. At first, both Tommy and Nancy denied that this could have
created any problems. But then Tommy thought it over. . . . "Getting back to that business of how
hard it is to marry someone of a different background," he said, "I guess maybe some additional
problems do arise that you wouldn't find between two people who are used to the same things.
"Like, for instance, when I decided to move to New York. That was one of the most important
decisions I had to make, and it was one of the first major readjustments Nancy had to make.
"I had decided some time ago to ease off the singing and concentrate on becoming an actor. I
did it by easy stages, you may remember, swearing off rock 'n' roll first. But then I found that saying
I wanted to be an actor and being one are two different things. There was much to learn and the
best place to learn is in New York, where the best legitimate-theater acting (Continued on page 86)
44
Tommy Sands' problem was how to support
his bride Nancy Sinatra in the style
she was used to — but he was not!
This is the Cleopatn
i
I
m
0tg 4Afc
n
M M
Diane McBain came flowing through the dressing-
room door, wearing a blue sheath gown of the
Roman era. It fit her with precision. The material
was thin as paper, the neckline dangerously low.
The cast and crew on the set of "77 Sunset Strip"
stared open-mouthed at a Diane they hardly recog-
nized. Even Elizabeth Taylor, playing "Cleopatra"
thousands of miles away in Rome, might envy
Diane's fresh beauty. In many ways, the costume
and the black wig made her look like Liz. Oddly
enough, their lives had been alike, too, in many
ways — and one, in particular. They have a man in
common.
The script called for Diane to play a movie
actress in an episode titled "Leap My Lovely" (to
be seen next fall). Though the writer won't admit
it out loud, the plot is heavily shaded with over-
tones of Liz and her version of "Cleopatra."
The shooting went on through the morning.
Finally, the director called, "Cut . . . lunch, every-
one." Diane, deciding it would take too long to
change, went to the commissary in costume. The
restaurant fell silent as she entered — dressed as Liz
Taylor. Diane realized she was being stared at, but
she thought it was because of the dress and wig.
She tried to ignore it as she sipped iced tea.
Yet it was quite a coincidence. Most people were
unaware of how great an irony it was which had
Diane playing Cleopatra on the same day that the
names of Liz and Richard Burton were splashed
across the headlines. A few, though, remembered . . .
Diane had been linked with Richard Burton, too.
They had met while making "Ice Palace" (now
being re-released) and Diane's friends say she fell
hard for him. Whispers filled the set all through
the filming. People insisted they had seen them
dining here, driving there — always together. What
attracted her to him was natural and unavoidable.
She was a Sleeping Beauty, (Please turn the page)
who made all the headlines . . .
but. . .
(Now please turn the page)
47
This is the Cleopatn who made all the headlines...
Diane McBain came flowing through the dressing,
room door, wearing a blue sheath gown of the
Roman era. It fit her with precision. The material
was thin as paper, the neckline dangerously low
The cast and crew on the set of "77 Sunset Strip'
stared open-mouthed at a Diane they hardly recog
nized. Even Elizabeth Taylor, playing "Cleopatra-
thousands of miles away in Rome, might envy
Diane's fresh beauty. In many ways, the costume
and the black wig made her look like Liz. Oddly
enough, their lives had been alike, too, in many
ways-and one, in particular. They have a man in
common.
The script caUed for Diane to play a' movie
actress in an episode titled "Leap My Lovely" (to
be seen next faU). Though the writer won't admit
it out loud, the plot is heavily shaded with over-
tones of Liz and her version of "Cleopatra."
The shooting went on through the morning.
Finally, the director caUed, "Cut . . . lunch, every-
one." Diane, deciding it would take too long to
change, went to the commissary in costume. The
restaurant feU silent as she entered— dressed as Liz
Taylor. Diane realized she was being stared at, but
she thought it was because of the dress and wig.
She tried to ignore it as she sipped iced tea.
Yet it was quite a coincidence. Most people were
unaware of how great an irony it was which had
Diane playing Cleopatra on the same day that the
names of Liz and Richard Burton were splashed
across the headlines. A few, though, remembered . . .
Diane had been linked with Richard Burton, too.
They had met while making "Ice Palace" (now
being re-released) and Diane's friends say she fell
hard for him. Whispers filled the set all through
the filming. People insisted they had seen them
dining here, driving there— always together. What
attracted her to him was natural and unavoidable.
She was a Sleeping Beauty, (Please (urn the page
Other
Cleopatra
Burtons
Life
still a newcomer to Hollywood and all its prom-
ises and challenges. He, a prince on a white
horse, was a proven star on two continents. And
his way with the ladies was well-known. Still,
Burton was a married man; Diane had to ac-
cept that reality. Abruptly, there were no longer
reports of her being seen with him.
"Diane was terribly crushed," a close friend
said, "when she had to call the romance off. She
became moody and kept to herself a lot."
Time, however, seemed to help. Yet now time
has caught up with Diane again. What does she
remember? What does she feel about Burton's
new Cleopatra? Diane is wisely keeping those
answers to herself. Outwardly, she showed no
emotion when she finally learned about Liz and
Burton later that day.
One thing, though, is certain. Diane McBain,
although the junior in age and experience, could
probably give Miss Taylor some solid advice. It
is sometimes better to lose than to win — where
a married man is concerned. — Dean Gautschy
48
FORTUNE-
MISFORTUNE?
You know what you like, when you look at
other people — but do you really know what
you see? Or what others see, when they
look at you? You can have fun . . . make
a fortune out of faces . . . learn a lot about
yourself, your friends, the famous folk you
see on TV! Physiognomy, it's called, this
"science of reading character from the
shape and lines of the face," and it's the
fascinating hobby of an English banker
who cloaks his true identity under the name
IS YOUR
FACE
YOUR
of Cyro while he shares his secrets with
you. Read his analytic profiles of six out-
standing figures from today's headlines.
You may raise an eyebrow at some of the
portraits — but they may open your eyes,
at the same time. As Cyro points out, both
social and business success depend on
being able to sum up — on sight — the
characters you meet. Such an ability can
help you save face . . . choose your mate
... or even explain why you chose the
one you did. Just turn the page and learn
the "rules" for judging true face-value!
49
PERRY COM©: This is a
face you'd instinctively trust —
and you'd be right. The laugh-
lines at the eye-corners are a
sign of a relaxed person with a
keen sense of humor and a lively
imagination. The wiry, naturally
wavy hair indicates intelligence
and stamina, and the rather
flattish contour of the head in-
dicates a capacity for enjoyment.
The forehead — round, high and
full at the temples — shows an in-
quiring mind, an excellent mem-
ory and an innate shyness. The
nose, straight and clean-cut, de-
notes great courage — and stub-
bornness. The mouth, more often
than not with parted lips, indi-
cates energy and a need to be
liked. The low-set, sparse eye-
brows are a sign of an affection-
ate and kindly nature. Overall: A
well-integrated person who has
had problems and solved them.
DICK CHAMRER-
LAIN: This unusually
long face is a clue to adapt-
ability — and moodiness.
The chin is that of a some-
what aloof person, who
makes friends easily but re-
sists deep friendships. The
large well-shaped eyes show
humor but also ambition.
The straight, fine eyebrows,
slightly lighter than his
hair, denote a capacity to
learn quickly. The ears, set
high and irregular in shape,
show generosity. The fine,
wavy hair is a sign of a
romantic. The suspicion of
a dimple indicates a toler-
ant nature. The large depth
of jaw below the ear de-
notes decisiveness and very
strong will-power. To sum
up: A person who doesn't
say all .that he is thinking.
50
•JACKIE KENNEDY:
This is obviously the face of a
lively-minded, optimistic, tal-
ented woman with a zest for life.
From the wide gap between
middle points of her eyebrows,
and the wide bridge of her nose,
you can deduce courage, grit
and determination. The square-
ness of the face and chin show a
love of fair play and a forceful
character. The short but well-
shaped nose, above a narrow lip,
is a sign of impulsiveness and
fearlessness. The eyes, spaced
much farther apart than average,
indicate humor, straight thinking
and loyalty. The fine, virile hair
is that of a healthy though not
robust person. Overall, this small,
square face is that of a person
who can make friends in every
stratum of society, whose desire
to see and do everything is lim-
ited only by human endurance.
CONNIE STEVENS:
Here is an open and trustworthy
face, guileless and friendly. The
chin is broad and round with
firm contours denoting forth-
rightness and determination. The
nose, finely molded with small
nostrils and well-defined bridge,
shows generosity and an even
temper. The short upper lip and
bow-shaped mouth indicate a
happy disposition. The well-
spaced eyes (precisely the length
of an eye apart) are a sign of
level-headedness and honesty.
The eyebrows — low, well marked
but irregular in shape — show she
likes people and needs affection
herself. The ears — set rather low,
with small lobes and a well-
defined rim — show sensitivity,
tolerance and sympathy. The
high round forehead shows in-
telligence. The heart-shaped face
is ambitious — likely to succeed.
ELVIS PRESLEY:
The finely molded, slightly
pointed chin shows serenity
— and also determination.
The nose, a little short and
broad at the nostrils, sug-
gests he is impulsive. The
short upper lip (with fuller
lower lip) denotes kindli-
ness. The mouth, with lips
usually parted, is a sign of
energy and courage. The
way he holds his mouth
indicates wit and an ability
to make friends. His hazel
eyes, deep set with low
brows and soft laugh-lines,
show a love of justice, as
well as humor. The ears —
with the tips slightly higher
than the center of the eyes
— show sympathy. The con-
siderable depth of jaw be-
low ears shows a capacity
to make quick decisions.
.
Vincent edwards:
The face of a hard-working, in-
telligent, alert man. The low-set
eyebrows, slightly irregular in
shape, are evidence of an unusu-
al self-sufficiency. The rounded
chin, with its suspicion of a cleft,
shows a strong masterful nature
that wants its own way. The nose,
with its deep bridge, shows toler-
ance and the physical ability to
achieve his ambitions. The lips,
frequently pressed together, show
determination and possibly re-
serve. The dark brown eyes, well-
spaced and deep-set, mean he's
loyal to friends — and ideals. The
straight, virile dark hair shows
good health and a fiery temper,
though it's slow to rouse. The
overall impression: A man who
.doesn't bother about public
opinion as long as he knows he's
right ... a romantic, sentimental
man who pretends to be hard.
51
*r&
\%>%:
Jh
CM
The Roger Smiths
^mHWbi
&■'
n
M
OH
BROTHER!
It'll go down in history as the Battle of the Thermostats. You see, Vici and Roger have
always kept their house at seventy degrees. Sometimes they would vary as far as seventy-
one. But when Vici's family moved in with them, they found that suffocating. "You can get
pneumonia coming out of a hot house into the cool air," said Vici's mom.
As for Roger's mother, she likes it hot. So, when Vici's family came from Australia and
Roger's family came from New Mexico and they all piled into the house in the valley —
you can imagine! There were now nine people in a house that was comfortable for two
adults and two small children.
They'd let the maid go, Roger and his father-in-law built an extra room onto the
house, Roger bought five new beds . . . but someone was always sneaking out of one of
them to jiggle that thermostat! No one ever actually saw anyone else do it, but the mercury
sure wandered up and down. When Roger's mother and brother were comfortable and
sleeping peacefully, the Aussies were smothering; when they could sleep, the rest of the
household was freezing.
It came to a climax the day everyone was sick. The kids had bronchitis (because the
house was too hot, if you asked Vici's relatives) . . . Mrs. Elphick, Vici's mom, hurt her
elbow . . . Mr. Elphick had the flu . . . and Vici collapsed with {Continued on page 91)
*»d
53
The Roger Smith!
OH
BROTHER!
It'll go down in history as the Battle of the Thermostats. You see, Vici and Roger have
always kept their house at seventy degrees. Sometimes they would vary as far as seventy-
one. But when Vici's family moved in with them, they found that suffocating. "You can get
pneumonia coming out of a hot house into the cool air," said Vici's mom.
As for Roger's mother, she likes it hot. So, when Vici's family came from Australia and
Roger's family came from New Mexico and they all piled into the house in the valley —
you can imagine! There were now nine people in a house that was comfortable for two
adults and two small children.
They'd let the maid go, Roger and his father-in-law built an extra room onto the
house, Roger bought five new beds ... but someone was always sneaking out of one of
them to jiggle that thermostat! No one ever actually saw anyone else do it, but the mercury
sure wandered up and down. When Roger's mother and brother were comfortable and
sleeping peacefully, the Aussies were smothering; when they could sleep, the rest of the
household was freezing.
It came to a climax the day eveiyone was sick. The kids had bronchitis (because the
house was too hot, if you asked Vici's relatives) . . . Mrs. Elphick, Vici's mom, hurt her
elbow . . . Mr. Elphick had the flu . . . and Vici collapsed with (CorUiaued on page 91)
53
Three, problems in i ne u'tear tionzon :
1. Should a husband tell his ivife everything?
2. Is (i lie. ever justified?
3. Hon: much should a mother tell her son? "
CAN YOU LEARN T
54
Every month, a doctor looks at TVs daytime dramas and
tells you what you can learn about yourself from them
It's often said that TV daytime dramas are so
popular because they're so filled with problems —
usually, with the inference that these problems
would be wildly unreal in actual life! If you're a
typical viewer, you'd be the first to say this isn't
so. You follow your favorite serial because you
"recognize" the characters and the basic dilemmas
they face. Their success depends upon how closely
they actually resemble you and your own problems.
But — from the standpoint of modern psychology —
do you really learn from their experiences? Can
the solutions they find, on TV,
help you in real life? Because
millions look in on these pro-
grams each day, and are often
deeply affected by what they see,
these are important questions. To
by ARTHUR HENLEY
with
Dr. ROBERT L.W0LK
get the answers, we'll analyze a different drama in
these pages each month, treating the characters as
real people and their problems as real problems —
with my descriptions in regular text type, and Dr.
Wolk's comments in italics. Our first subject is
"The Clear Horizon," which presents several in-
teresting aspects, morally and psychologically, as
well as the general question of what you can learn
about yourself while watching television.
From the psychological viewpoint, it is perfectly
healthy to watch a TV drama unfold and see others
wrestle with problems similar to
one's own; this makes one's own
problems seem less serious and
easier to cope with. In fact, this
is the basis of group psycho-
therapy. (Continued on page 94)
Pictured in these scenes, in order of first appearance: Ed Kemmer and Phyllis Avery as Anne and Roy Selby ;
Earl Hammond as a Russian officer and Michael Fox as injured Sig Levy; Charles Herbert as young Ricky.
LIVE WITH DEATH?
55
sag*
- ■ I
THE ONE MAN
P
At a secret Paris meeting, Hitch-
cock talked: his wife Alma and
Prince Rainier listened. Finally,
Grace got a word in. It was "Yes."
[ Perhaps you wouldn't
I believe it to look
at him, but
Alfred Hitchcock
has a way wit h wo m en
GRACE KELLY
COULDN'T
SAY 4 'NO" TO
With the speed of a man losing a fortune at the gaming tables of Monte Carlo, the
news spread. Grace Kelly was coming back to Hollywood! Just as quickly, the rumors
began. Why was she doing it, people wondered. Why should Her Serene Highness want
to be a working girl again? Noblesse oblige it certainly wasn't. Some said it was
because Grace was finding life at the palace dull. Others blamed it all on Charles de
Gaulle and the French Premier's threat to introduce carefree Monaco to the quaint
custom of income tax. If that happened, they said, Grace would have to go to work in
order to make the royal budget come out even. Still others said you couldn't blame
everything on de Gaulle (wasn't Algeria enough?). They explained that the princess
wanted to be a movie queen again so she could bring some of {Continued on page 89)
57
JACK LINKLETTER:
f
Art Linkletter hugs grandsons
Mike and Dennis. Son Jack
smiles — but he has his own
ideas about how to bring up
his two lively little boys!
S9*
ft\
c
7
w
{
Same MISTAKES My Father Made
11
On a sun-dappled spring day a few years ago, when
future "Here's Hollywood" host Jack Linkletter was
at Emerson Junior High, heading into his blue-jeans-
busting teens, he and a school chum decided to run
away There was no good reason for the caper; Jack
and his pal were no more "misunderstood" at home
than any other thirteen-year-olds in their swaggering,
boisterous crowd. Emerson did have a hard-nosed, fist-
swinging, often troublesome element, and Jack was
part of it. But for Art Linkletter's oldest son there had
been no real panic at school, except perhaps for a few
bad grades and his unwillingness to crack a book for
months on end. . . . True, young Jack secretly resented,
like so many Hollywood celebrities' kids, having to live
up to Papa's fame. (His dad, Art Linkletter, was already
a top entertainment star.) But mostly the running away
was because the two lads were^-at (Continued on P a Se 76)
59
People
are
talking,
but
Annette's
answer is:
IT HAPPENS
TO EVERY GIRL
60
Only yesterday, she was a child, a
Disney Mouseketeer . . . playing with
baby-brother Mike . . . roughhousing
with bigger Joey, just three years
her junior . . . leaving her room a
wind-tossed heap of dolls. Today, she
is a woman ... a Little tremulous
at the thought of leaving her teens
behind, next fall . . . but achingly
eager to face the adult world.
Annette Funicello is now nineteen,
very much in romantic Rome and
quite possibly in love! As days grow
warmer and nights expand, Italians
beam to see {Please turn the page)
.
61
IT HAPPENS ONCE
TO EVERY GIRL
her walking hand in hand with a
gallant cavalier. To them, it is most
natural that it should happen here.
Youth's the time for love, and Rome
the very place to give it a never-to-
be-forgotten setting.
And how (even if she wanted to)
could Annette resist one of their
handsomest young men? Any girl
(even a so-famous American) would
enjoy making movies with Nino Cas-
telnuovo. As for making love . . . !
But, to her many fans back here,
it comes as something of a surprise.
Just months ago, Annette was skip-
ping lightheartedly through the fan-
tasy of "Babes in Toyland." Now,
she's a full-grown heroine in Walt
Disney's "Escapade in Florence."
Dates? Of course, she had them —
but never while working on a film.
Never any that led to speculation she
might elope — even when Paul Anka
was writing songs to her. Somehow,
she seemed always to return to her
old friends among the Mouseketeers
... as though seeking reassurance.
A parlor game, a good turn around
the dance floor — a girl's first kiss
can come and go before she knows it,
when she clings to childhood pals.
But a kiss in Rome is very differ-
ent! As different as dating a boy
you never set eyes on, till this year
... a boy with melting eyes and
the charming manners which make
even a young European seem already
wise in the ways of the world. . . .
As for career, that's something
continued
i
Annette and Nino: Is there a chance
for this summer romance to last?
Annette has always taken seriously
— with a poignantly childlike inten-
sity. Fans heard her say she'd rather
act than sing . . . and thought of
that as something far off in the fu-
ture, while they went on cherishing
her young-as-spring records.
They saw her bob her hose (perma-
nently) and bleach her hair (tempo-
rarily) in search of "glamour." Like
her Hollywood friends, they felt that
the more "sophisticated" she became,
the younger she looked.
They noted all the signs of ado-
lescence . . . and forgot it must all
lead to maturity someday.
When did Annette grow up? Per-
haps her family noticed first. Mike,
when her primping monopolized the
bathroom for hours . . . Joey, when
her calls monopolized the family
phone . . . her mother, the morning
Annette got up early and actually
cleaned the kitchen "as a surprise!"
Or perhaps Nino Castelnuovo was
the first to realize it, the moment
their hands touched. Here, in these
exclusive, off-guard pictures, is no
shy uncertainty, no wistful wavering
between tomboy impulse and the
eternal feminine.
When Annette says, "A rivederci,
Roma," will she leave a bit of her
heart behind? Will she come back as
a Signora ... or more receptive to
the idea of becoming a Mrs.?
It happens once to every girl. And
no red-blooded male ever dreamed of
changing that plot! — Irene Storm
62
WHEN HE NEEDS THEM, WHERE ARE
T
i
«.
For the answer, turn the page
Do they remember the fame he brought them-or the tears?
He had so many of them once, both TV shows and loyal members of "his gang." On mike and camera, day and
night — no matter what the title — it was always "Arthur Godfrey and His Friends." All the Little Godfreys
whom he helped to fame . . . and who helped make him the Mr. Big of CBS . . . where are they now? Some left
in tears, some smiling. Some have flourished, some dropped out of sight. If he could gather them together again,
would the story be different today? . . . It's no secret that the once-fabulous redhead still yearns for the spotlight.
No secret that CBS-TV somehow couldn't find time recently for even a Godfrey special — and that this fact
sent Godfrey flirting with another network. Now he has signed with CBS again (Continued on page 66)
Starting as Arthur's announcer in 1945,
Tony Marvin lasted longer than any other
— until mid- 1 959 — on both radio and TV.
Says Tony, "It was my job to keep a step
ahead of Godfrey." Was that the trouble?
Five years a symbol of Godfrey's in-
terest in Hawaii, Holelolce stopped
singing when he let her go. But she
has a rare distinction: He hired her
again this year — though not on-air.
Sweet duets of Frank Parker and Marion Marlowe
made them seemingly permanent Little God-
freys, convinced many fans they were really in
love. However, it was a romance with another
man entirely which led to Marion's dismissal.
~_
The Chordettes are an enduring quartet, but not always the same four
girls. In their Godfrey heyday: Carol Bushman, Janet Ertel, Lynn Evans
and Margie Needham. Matrimony is responsible for almost every
change in the group — including their departure from Arthur's shows.
All show biz was proud of Jim Lewis, Tom Lockard, Nat Dickerson and
Martin Karl. ("There's always been an ideal behind The Mariners,"
said Nat.) First interracial "regulars" on any network, The Mariners
joined Godfrey in 1945, for nearly ten years — have now disbanded.
Top arranger and conductor from Broadway, Archie Bleyer committed
two crimes in the redheaded impresario's code: He started his own
business — using Godfrey stars — and also fell in love with one of them.
As head of Cadence Records, he proved this kind of "crime" can pay!
Young Lu Ann Simms and Julius La Rosa had audiences sighing of
"young love" with their songs. But, off stage, Julie fell head-over-heels
for the wrong girl. And — though Lu Ann kept her job after her own
marriage — she found "maternity leave" turned into "walking papers."
Of all the famous Little Godfreys, the McGuire Sisters — Christine,
Phyllis and Dorothy — left Arthur on the best terms, have been the
most successful. Could he get them back, if he wanted? Not likely, at
current prices! And they have their own plans, romantic and otherwise.
Janette Davis was with Godfrey a dozen years, from singing on radio
in 1946 to helping produce his TV shows in 1958. Her loyalty's never
been questioned — but could she be lured from retirement? Now wed,
Jan says, "I'm content being a housewife and raising the children."
65
ARTHUR GODFREY
(Continued from page 64)
— in an unprecedented contract for one
year only — with the assurance that his
daily radio program will continue, and
a "guarantee" of three TV specials dur-
ing the coming season.
But it's a far cry from the 1940s
and '50s, when TV was dominated by
"Arthur Godfrey Time" in the morn-
ing, "Arthur Godfrey's Talent Scouts,"
"Arthur Godfrey and His Friends" and
just plain "Arthur Godfrey Show" at
night . . . when all the Little Godfreys
seemed actual members of the family in
living rooms from coast to coast.
The fire in that family hearth is
cold now, but does Arthur Godfrey ever
remember the days when they all gath-
ered, seemingly happy, around its
warmth? Like any head of a family
who wakes one day to find himself
alone, Arthur might well wonder what
happened — and how? One thing he
can't forget: The members of his fam-
ily did not run away from home; one
by one, for many different reasons, it
was he who sent them packing.
Remembering those days, does he
ever wonder what would happen if he
asked them — now — to come back?
Tony Marvin, for one, would prob-
ably come a-running. He fondly recalls
those years which brought him the
mansion on Long Island where he still
lives, with his wife Dorothea and daugh-
ter Lynda Ann. Tony's now active in
radio, but his heart's still in TV — the
old Godfrey kind. They were good days.
The only time Arthur spoke harsh
words to Tony — on TV — was that
moment in February, 1954: "You and
that big fat mouth of yours! " More typi-
cal was the excuse he gave, when he
told Tony in June, 1959, that there'd be
no place for him on his new series be-
cause it would be so informal "a man
of your high caliber would be a luxury."
Tony said then, "That old flatterer!
I hope he lives to be 9,000 years old."
Today, he still admits he misses the
Godfrey shows: "It was a challenge,
but a great deal of fun. You never knew
what was coming up."
Julius LaRosa certainly never knew.
Never suspected he'd become the first
man in history to be fired right on TV.
From the moment in November, 1951,
when he started with Godfrey, until
that fateful October 19th, 1953, this
ex-sailor had endeared himself to the
public with his singing, his naivete
and youthful bounce.
Unfortunately, he'd also endeared
himself — or vice versa — to a lovely
young lady on the program who was
not yet divorced from her G.I. husband.
The resultant publicity "embarrassed"
Godfrey, who was already more than
annoyed because Julie had hired him-
self an agent and was seeking outside
assignments at higher pay. Julie, said
T Arthur, had lost his "humility."
v LaRosa was then just 23. Starting
r with a series of guest shots for Ed
Sullivan, he made $302,000 the first
year after leaving Godfrey. Now 32,
66
he s happily married to Perry Como's
former secretary, Rosemary Meyer, and
they live in a nice New York apart-
ment with their baby, Marcia Lucia.
He's been working hard to improve
himself, as both singer and actor, and
has done very well. "I'm just starting
to be a real talent," he says.
The McGuire Sisters were always on
good terms with Godfrey — even though
it was Dorothy McGuire who figured in
the much-publicized "romance" with
LaRosa. And anyone who buys rec-
ords or goes to swank niteries knows
how successful this singing trio has
become.
It's a little harder to keep up with
their private lives. Dottie, 32 and long
since divorced from her G.I., quietly
wed a Canadian oil man, Lowell Wil-
liamson, in 1959 and has a son, Rex.
Christine, 34 and married to John
Teeter, has two sons by a previous mar-
riage: Harold, who's in the Navy; Asa,
16 and in boarding school.
Phyllis, 31 and divorced from Neal
Van Ells, has been many times reported
engaged but insists she hasn't married
again. She went to a psychiatrist for
three years, to straighten out her ad-
mitted feelings of insecurity. Chris is
now doing the same. Meanwhile, their
careers continue to zoom.
Shipwreck for four
The McGuires don't need it, but God-
frey has actually held out a helping
hand to others whom he fired. The
Mariners, for instance, who already
had their own show on CBS Radio
when they joined him — 'way back in
'45. The group, first formed while all
were members of the U.S. Coast Guard,
consisted then of Tom Lockard, bari-
tone; Nat Dickerson, tenor; Martin
Karl, baritone; Jim Lewis, bass.
These four had almost ten good
years with Arthur, grossed $250,000 the
first year after he let them go — then
almost literally fell to pieces when re-
placements had to be made. Tom was
first to quit, tired of traveling and eager
to spend more time with his wife Vir-
ginia Osborn (who's also sung with The
Chordettes). Then Jim left, subsequent-
ly becoming a history teacher in
Connecticut.
Nat and Martin tried to keep the
group together with two new men, Gabe
Meinhardt and Coyle McMahon, but
their bookings didn't cover traveling ex-
penses. In January, 1959, they wrote
their old boss, asking for help. Godfrey
invited them to "drop in" on his pro-
gram, kept them on for weeks, but
the tide was ebbing fast. The Mariners
finally washed out — and no one's sorrier
than Arthur.
Yes, Godfrey can be kind to former
employees. He brought Haleloke Ka-
hauolupua from Hawaii in October,
1950, and she happily sang on his
shows for the next five years. When
her contract wasn't renewed then, she
sat in the Manhattan apartment she'd
leased — gazing at a solid wall-full of
Godfrey snapshots — and resolutely told
reporters that she was "neither hurt nor
bitter."
Yet she turned from performing and
went into business, first a job with
Orchids of Hawaii, then a gift shop.
Last winter, Godfrey offered her the
job of social director at his Kenilworth
Hotel, in Miami Beach, and she ac-
cepted gratefully.
Arthur had discovered Hale in per-
son, on his second vacation in Hawaii.
He found LaRosa in the Navy, hired
him immediately upon discharge a year
later. Others were "Talent Scout" win-
ners — but one never really auditioned
at all. Arthur hired pert, redheaded
Janette Davis, sight unseen, just from
a recording of her voice.
That was in April, 1946. When the
last Little Godfrey contract expired in
June, 1957, and Arthur decided to rely
solely on guest appearances from such
promising newcomers as Pat Boone and
Carmel Quinn — plus occasional visits
from some former regulars — Jan Davis
stayed on salary.
She did it by switching from perform-
ing to producing — something she'd been
dabbling in since 1949, at Godfrey's
own suggestion. And it was backstage
that Jan found lasting romance. In
October, 1957, she married Frank Musi-
ello, associate producer of "Talent
Scouts." The following August — a week
or so after Frank left to take a job
on another network — CBS announced:
"Miss Davis is retiring to private life."
Her retirement seems permanent. She
has a lovely home on Long Island and
is devoted to Frank's son and daugh-
ter from his first marriage.
Marriage and the Godfrey program
never seemed to mix well. Perhaps
Arthur — like many a Hollywood V.I.P.
— believed his starlets had more audi-
ence appeal in single blessedness. Per-
haps he felt their first and only loyalty
should be to himself and the shows,
just as he resented their taking on any
outside interests — -particularly, going
into business for themselves.
Musical director Archie Bleyer, who
came to him from Broadway in 1946,
managed to run afoul of both rules,
some seven years later. In 1953, he
organized Cadence Records and re-
leased discs by Julius LaRosa (the
Unhumble) and Don McNeill (rival
daytime host on another net) . Archie
also took both a romantic and a pro-
fessional interest in a singing group
on "Godfrey Time."
The Chordettes had come from She-
boygan, Wisconsin, to win on "Talent
Scouts" in September, 1949, and stayed
to become Godfrey's favorite "female
barbershop quartet." Until 1953, that
is. By this time, two of the original
members had retired to marriage and
motherhood, but Janet Ertel and Carol
Bushman were still singing "bass" and
"baritone," augmented by Lynn Evans
and Margie Needham as the "tenors."
Carol was married to Janet's brother
Bob, Lynn was the wife of an insur-
ance man, and Margie was about to
wed Walter Lazko, The Chordettes'
musical arranger. But Janet was no
longer married, and Archie was about
to be divorced.
In November, Bleyer was bounced
from Godfreydom, hot on LaRosa's
heels. Things happened fast in 1954:
(Continued on page 73)
A MAN
MIDWEST
A-
^jj0^^^
A^Hr/
OF NOTE
Gordon Hinkleys surrounded
by them — musical ones and
those written by fans.
And they all have to do
with his job as music
supervisor of Station WTMJ
"We hear and read a lot, these days, about 'good' music coming
back. It never left our station." That statement comes from the
man who basically determines what popular records are played
on Milwaukee's WTMJ. He's Gordon Hinkley, Popular Music
Supervisor, as well as a featured personality on several WTMJ
and WTMJ-TV shows. . . . Gordon currently is featured on four
programs: An early, early record show, "Top 0' The Morning,"
Monday through Friday from 6:30 to 9:30 A.M., on which he
plays what he calls "lively" morning music while keeping south-
eastern Wisconsin residents up-to-date on weather and road con-
ditions, the correct time and other important information; "Ask
Your Neighbor," a 25-minute weekday feature on which house-
wives — -and an occasional male listener — call to ask for solutions
to minor problems they have run into. ("I'm probably the world's
best-informed male when it comes to such domestic problems
and procedures," Gordon comments. "But it does create problems
for me — Joyce [his wife] says, if I'm such an authority on home-
making, how come I don't do more around the place?") ; "To-
night—Milwaukee," WTMJ-TV's 15-minute prelude to NBC's
"Tonight" show, on which he chats informally with top celebrities
visiting Milwaukee; and "Invitation to Beauty," an hour-long
classical and semi-classical music program sponsored by a fine
suburban restaurant. . . . Gordon and Joyce — high-school sweet-
hearts who were married in 1943, just before Gordon entered
service — live in a modest Cape Cod home in suburban Whitefish
Bay, with their three children (as seen in the picture below).
Family musicale: Gordon, wife Joyce, children — Jeff, 13; Lynn, 11; List, 8.
67
This handsome star of TV's "Whiplash" wields
a powerful whip hand at home, but
it's made entirely of love
It's obvious Peter is always
surrounded by beautiful women and
he loves every minute of it. Said women are
wife Joan — daughters Kelly, 11; Claudia, 8; Amanda, 4
68
.
Peter Graves, tall, blond, good-looking and successful, is a Hollywood phenomenon — a happy actor.
Not only is he content with his job, but he's a devoted family man who shuns the usual star's social life,
preferring to spend his evenings at home in Pacific Palisades. "I've got no complaints," he grins
happily. "Why should I, with two series on TV, a wonderful wife and three daughters? I've also got
good friends and I like my work. Could a man ask for more?" ... At 15, Peter was already one of
the youngest full-fledged members of the Musician's Union. He played clarinet and saxophone with
local groups in Minneapolis (where he was born "Aurness" — he's the brother of "Gunsmoke's" Jim
Arness!) and occasionally got a chance to "sit in" with visiting big-name bands. At 16, he decided
he wanted to be a radio announcer and talked WNIN into giving him a job after school. Upon grad-
uation, he enlisted in the U.S. Air Force. . . . Two years later, taking advantage of the G.I. Bill of
Rights, the ambitious Peter enrolled at the University of Minnesota as a drama major. To earn extra
money, he continued playing the sax and radio-announcing parttime. He also fell in love with a viva-
cious coed, Joan Endress. As soon as he collected his degree, he headed for Hollywood. There were
times when Peter slept in his
car because he had no rent
money. But he doesn't think
of those days as having been
unpleasant. "A bit of strug-
/^\\ )t^l *"~ """ __^g gling toughens you up," he
™ ' "''•■-J™ ■ H?*SSn?*^B^^^^^^^^^^M points out, "and makes you
more grateful for the break
when it comes." . . . Mean-
while, Peter was finding that
the old adage about absence
making the heart grow fond-
er was true. He sent for Joan
and they were married on
the proverbial shoestring. It
proved to be the turning
point for him, as producer
Frank Melford saw him in
his first big TV role and cast
him in "Rogue River." A
number of important movie
roles followed, in "Stalag
17," "Beneath the Twelve-
Mile Reef," "Night of the
Hunter," and "Fort Yuma."
. . . The actor was hesitant
about accepting an offer to
star in the Western TV se-
ries, "Fury," because he felt his real future was in motion pictures. But he decided that a family
man must consider the present, so he accepted. TV producer Ben Fox also had his eye on Peter and
moved in with an offer: How would Peter like to star in "Whiplash," a story dealing with the ex-
citing days of the gold rush in Australia? . . . The thought of six months' filming "down under" in-
trigued Graves and he signed for the role of Freeman ("Chris") Cobb, an American from Boston
who founds a stageline in Australia. . . . Stateside, the family lives in a Spanish-style house in Pa-
cific Palisades with the family pet, "Mandy," a springer spaniel. Peter keeps his 6-foot-2 frame lean
and hard through swimming, surfing and horseback riding, three of his favorite sports.
69
<m®
Although Hal Murray loves doing his
early-morning daily show for KDWB,
he does admit that it sometimes gets
a bit nerve-wracking. Says he with a
grin, "I'm the only guy I know who
can thread the needle of a sewing
machine while it's still in motion!"
Such is the brand of humor, thou-
sands of listeners in the Minneapolis-
St. Paul area are treated to every
morning. . . . Hal actually began his
career at WATL. One day, the an-
nouncer on a show called "Afternoon
Swing Session" was ill and Hal filled
in, and gave it all he had in the way
of gags, puns, etc. Soon, the switch-
board was lit up like a Broadway
marquee with queries of "Who is that
nut?" The nut remained until he
moved on to better things at various
stations, finally arriving at KDWB.
. . . While Hal was appearing at the
Gallery Circle Theater in New Or-
leans, he kept looking off-stage at a
pretty prop manager named Elise
Taylor. She eventually became Mrs.
Murray and now there are two little
70
Hal and Elise pursue respective hobbies as often as possible.
(
V*
Hal spends many hours preparing for his show.
K
Hal's wife Elise has to use ingenious methods to wake him.
Meet KDWB's merry
morning madman, who spins
his show jest for fun
comics in the family — Michael, 4,
and Mark, 2. . . . All four Murrays
figure ten must be their lucky num-
ber. Hal was born on October 10;
Elise on February 10; Michael on
September 10; and Mark on Novem-
ber 10. It's ten to one, too, that Hal
Murray will be regaling his listeners
for a long time to come!
Here's the rest of the merry Murray clan — Michael, 4, Mark, 2.
71
Meet the busiest man on Columbus
TV — WTVN-TV's Gene Fullen,
who loves every minute of it
The Fullen family: Gene and wife Ruth with
David, 10; Sally, 12; Brian, 1; and Kevin, 5.
emm. «iE/' 1 4 21 '£&'
Bowling show: Gene tries keeping up with ladies.
WTVN-TV's Gene Fullen is known around Columbus as "the
busiest man on television" but that is not quite accurate. Oh,
he does do an interview show, "Guest Room," and a bowling
show, "Spare Time," and a quiz show, "Dialing for Dollars,"
and guest shots on shows like "The Real McCoys." But he is —
believe it or not — even busier off television! For example, he
raises fruit trees, flies a plane, takes colored movies, refinishes
furniture, emcees at dance parties for young people, plays the
bass viol, and runs a small ceramics business. His ambition? To
retire at 55! Chances are Gene will be much too busy then!
72
(Continued from page 66)
Archie signed The Chordettes for Ca-
dence — their waxing of "Mr. Sandman,
Send Me a Dream" hit the top of the
charts — and Janet became Mrs. Bleyer.
The Chordettes are still in harmony
today, though there've been further
changes. Margie's out and Ginny Lock-
ard's in. Joyce Weston, former publi-
cist for Frankie Avalon and Fabian,
replaces Janet when the girls go on
tour. Janet then stays home to fuss
over her teen-age daughter and her
busy recording-executive husband. The
Bleyers are quite content, thank you,
with their careers just as they are.
So is Marion Marlowe, the statuesque
singing beauty who also found romance
"behind the scenes." Marion remembers
vividly that "I started on the Arthur
Godfrey show on January 9th, 1951, at
8:22 p.m." She must recall, equally
clearly, that she was fired on April
15th, 1955, after falling in love with
Larry Puck — who'd lost his job as pro-
ducer of the Wednesday-night show, the
day their engagement was announced.
Marion's always expressed gratitude
for her "wonderful years" with Godfrey,
but has also confessed: "I felt the
props were knocked out from under me
when I was fired, but, thanks to Ed
Sullivan, I went right back to work
and I haven't stopped." She's singing
and acting — and married to Larry.
The happy-ever-after ending seemed
to elude the real-life Cinderella of the
"Godfrey gang" — Lu Ann Simms (Lu-
cille Ann Ciminelli), who leaped to
fame from a $33-a-week job behind a
department store music counter, when
she won on "Talent Scouts," April 21st,
1952.
All seemed smooth sailing and she
kept her new job, after marrying her
Prince Charming, Loring Buzzell, in
1954. A year later, she took leave of
absence to have her baby, Cynthia.
Then, before she could return, Lu Ann
was notified that her contract wouldn't
be renewed.
"If I only knew why!" she wailed,
as she tried to pick up the pieces of her
career and care for her baby, too. Lu
Ann wanted lots of babies, felt real
happiness was in sight when she be-
came pregnant again. But when little
Laura was born, in January, 1960, her
mother was a widow. Loring had died
unexpectedly of a heart attack — hand-
some, talented and only 32.
Lu Ann continued to live on in their
midtown New York apartment, but went
back more often to her hometown, to
visit her parents and many relatives.
She made new friends there, too — and
married Casper Stolt, a local liquor
salesman, just last October.
She and Casper now live in New
York, where she keeps an eye on her
late husband's music publishing inter-
ests. She makes frequent personal
appearances, says she's happy, and
seemingly bears no grudges against
fate. "Without Godfrey," she says, "I'd
still be working in a Rochester store."
But the singer who may owe Arthur
most of all is the one least likely ever
to be a Little Godfrey again. Frank
Parker had once been one of the big-
gest and most romantic male stars on
radio, but he was in his mid-forties
and unemployed when Godfrey gave
him another chance in 1949.
It proved to be a most satisfying
comeback, with TV added for good
measure. Frank paid off old debts, saved
money, revived his career. Then, in
June, 1956, the inevitable came as it
must to all Little Godfreys. His con-
tract wasn't renewed.
Frank guested on other shows, took
night-club dates, did quite a bit of tele-
vision — though he observed, in 1958:
"TV, with its offers of higher stakes
but threats of shorter life, has made
beasts of normally nice people. I've seen
what goes on behind the scenes of many
big shows, and it isn't pleasant. . . .
"I was one of the few who got along
nicely with Arthur Godfrey, and I ap-
preciate the almost seven years I was
with him. But one day he'd overwhelm
me with kindness and the next day he
wouldn't even speak to me."
In 1959, Parker moved to Hollywood,
took a bachelor apartment. "I live
alone," he explained. "This climate is
good for my old bones."
At this late date, it isn't likely Frank
would want to appear regularly on a
TV show. But his good wishes will al-
ways go with the man who gave him a
big "second chance" years ago.
No, Arthur Godfrey's former
"Friends" haven't forgotten him. If it's
TV he wants, they hope he'll get it.
With or without them. — Paul Denis
"Arthur Godfrey Time" is heard on
CBS Radio, Mon.-Fri., at 9:10 a.m. edt.
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(Continued from page 29)
her thoughtful and serious attention.
Mrs. Kay Esser, a longtime friend
and neighbor, was sitting in on this
particular discussion. "I wouldn't count
Janet out of the race," she laughed.
"She just might beat these two oldies
to the altar . . ."
Young Janet turned pleased and
grateful eyes on Mrs. Esser. "Well, I've
read that, in some places, girls marry
at a very early . . ."
"We've all heard about those places,"
Sis Lennon interrupted, "but this
isn't one of them. My opinion, speak-
ing as their mother, is that Kathy will
be first. Peg's older, but I have a feel-
ing she'll shop around quite a bit first."
Janet promptly dissented. "I think
Peggy'll be first." But, when chal-
lenged to give reasons, she shrugged,
"I'm not sure why, but it seems to me
Peggy's chances are better."
"Gee, thanks," retorted Kathy, who's
the most extroverted of the girls.
"Well," said Janet, somewhat sub-
dued, "that's my opinion and I'll stick
by it."
As for the two most likely candidates
to go the route DeeDee did, Kathy and
Peggy are divided in their views.
"Peggy will probably take the big step
first," says Kathy. But Peggy advises,
"Put your money on Kathy."
This goodhumored and, as Bill puts
it, "natural" guessing game has in some
way filtered out beyond the circle of
family and friends, and the Lennons
have received many letters asking ques-
tions very much to the point. In answer,
here is the situation as of now. . . .
There is no one young man in the
busy, happy life of either Peggy or
Kathy. Unlike sister Dianne, whose
heart was committed to a neighborhood
boy she began dating when still in high
school, Peggy and Kathy have a goodly
number of boyfriends whom they date
as often as their work schedules and
inclinations allow.
Bill — who, with sly humor, refers to
himself as "Father of the Brood" —
points out that "the phone never stops
ringing for Kathy." He hastens to add,
however, "I'll say this, though — she
dates so many different types that it's
hard to guess which type she really pre-
fers. I doubt if she herself is sure. And
that's probably why she hasn't yet be-
come serious about any of them. But,
Kathy has never led a boy on. From
the start, she's straight from the shoul-
der and makes it clear that marriage is
not one of her pressing concerns at the
moment. If the lad is willing to date on
a friendly basis, and nothing more com-
plicated, why, that's fine with her. Of
course, one of these friendships might
well develop into love."
The theory some members of the
family hold with regard to Peggy — that
7 she will take her sweet time in picking
y her mate — is explained this way by Sis
r Lennon. "Peggy is the sort of girl who
finds a world of serenity and happiness
in herself. Sometimes she will go up to
74
her room and curl up with a book. I
may look in on her and ask, 'What are
you doing?' She'll smile and tell me,
'Being happy, Mom. . . .' That doesn't
mean she has no interest in outdoor
sports and in dating young men. On a
date, she's as active and has as much
fun as Kathy, she's just not as gregari-
ous. But at home she loves to listen to
classical music, read or sketch. She had
some art courses in school, and it's an-
other hobby she enjoys."
Peggy and Kathy, and in a limited
sense Janet, too, have their own views
on the qualities that for them would be
"plus" in a prospective husband. Their
tastes and opinions on character seem
to coincide. "He needn't be wealthy or
even successful," says Peggy, "but he
should be a man who does the best
that's in him at his job."
"He must like children," muses Janet.
"Yes," chorus her sisters, "and want
a real honest-to-goodness home life."
"And also," Kathy points out, "I'd
want him to have the same religion.
That way it's so much simpler, and so
much better for the children, because
then there is unity in the home and few-
er problems develop concerning their
education and upbringing."
"Yes," adds Peggy, "too often, when
parents aren't of the same faith, the
children become confused and end up
with no religion."
"But he would have to be a man free
of prejudice," Janet puts in.
Dating and mating
From Kathy comes the view that
"There are small, casual and unimpor-
tant matters where a boy and. girl don't
really have to agree. They're not big
enough to upset the balance and har-
mony of the family, and there's lots of
room for a little give-and-take on both
sides. But on the basic things in life,
there should be unity, for the sake of
everyone concerned. Otherwise, you
don't really have enough reason for get-
ting married. I try to get to know each
individual boy I date. I give him a
chance to talk, to express what's in his
mind and heart. It takes time to dis-
cover if he has the same basic aims in
life you have. I don't say he has to be a
'me-too' type. But if you fight about
basic things before you're man and
wife, the chances are you'll keep on
battling after marriage."
"I hear some girls talk about chang-
ing a boy before they'll say yes," Peggy
says. "I myself don't approve of it. No
girl has a right to expect a young man
who's been brought up a certain way
and is set in his style of living to change
just for her, and the idea of reforming
a man because he has a bad trait or
unpleasant habit . . . well, I don't go for
that much, either. To me, marriage is
good when each party keeps his or her
personality, and somehow both per-
sonalities, as they mature, grow to-
gether and become truly one.
"Dating is great fun . . . and fun is
the object of dating, mostly. But natu-
rally, sooner or later, the talk has got to
come around to conditions in the world
and problems of life in this period of
history. For instance, juvenile delin-
quency is in all the papers and on radio
and TV and it's only reasonable for
young folks to discuss it."
"That's how you lead into more seri-
ous topics," Janet suggests importantly,
and is greeted with a tolerant laugh
from her older sisters.
"She's right, you know," says Kathy
after a pause. "Girls should learn how
to communicate, not only with boy-
friends, but their family, too. There
isn't enough communication between
people on dates . . . and often there isn't
much of it at home."
"I think what's happened," ponders
Peggy, "is that many of the parents of
teenagers passed through a very rough
period. A lot of them were born during
the first world war, then they went
through a terrible depression, then an-
other big war — and they didn't want
their kids to have the tough time they
did. This is a wonderful intention, but
what some of them forget is that the
hard times made them into the fine, de-
cent people they are. A kid can find
good values from the school of hard
knocks. I'm not saying parents should
constantly throw it up to their children
that they are lucky to have it so easy.
Teenagers don't like to be lectured even
when they agree with the ideas behind
the lectures. It makes them feel guilty
and hurts their enjoyment of their own
better conditions."
"On the other hand," points out
Kathy, "most children appreciate things
more if they have to work for them.
Almost all college boys I know want
their own cars. And those who earn
money with after-school jobs or week-
end work — why, they seem to get more
of a bang out of their cars than the boys
who got one the easy way. Which brings
up another trait I'd want my husband to
have — a healthy respect for money and
a willingness to work for it."
According to the "mother of the
brood" (there are eleven children in the
immediate Lennon family including
Dianne, a frequent visitor) all dates are
welcome at the house "if they pass the
first test." That test, Sis adds with a
twinkle, is: "Can they feel relaxed in
the midst of continual bedlam?" An-
other point in a lad's favor would be a
liking of sports. "We're all either base-
ball or football fans or fans of some
game where competitiveness is involved.
A sense of humor wouldn't hurt his
chances, either, of becoming a friend of
the family."
"Wouldn't hurt!" shrieks Janet. "In
this family, you must have a sense of
humor."
"Bill and I have no fundamental
objections to youthful marriages," Sis
explains. "We follow St. Paul's advice
on that. I was nineteen and Bill was
twenty-four when we were married. But
we were both very sure of what we
wanted — a home, children, and spend-
ing the rest of our lives together."
It is significant that, though Kathy
and Peggy agree on the qualities they
prefer in young men, they do not seem
attracted to the same boys. "Kathy
goes more for the Latin type — dark
hair and eyes — and, since she's so
athletic herself, she likes a fellow who's
outgoing and athletic," says Peggy.
Their parents feel that Peggy likes
the kind of lad who presents a chal-
lenge in the intellectual sense. She
likes to discuss books and music. And
she's the first to ask the younger Len-
nons if they need help with school work.
But Kathy, as seen through the eyes
of her family, is more concerned with
the physical well-being of her little
brothers and sisters. She encourages
them in athletics and would rather be
out playing ball with them than inside
reading books. Nevertheless, she seems
to have acquired a solid fund of in-
formation through her sharp eyes and
attentiveness. A practical girl, she
makes her sister Peggy seem almost a
dreamer. And their contrast is com-
plemented by Janet, who is the prank-
ster of the Lennons.
Neither of the girls dates men in
show business and, at this stage, it
seems unlikely that they'd marry an
entertainer. "About the only people
we know in show business," says Kathy,
"are those in the Welk band. And
while the men are all wonderful, they're
married and treat us like kid sisters."
The girls have no hesitation in facing
up to the great question: What if they
fell in love, deeply in love, with young
men who didn't have the qualities they
stress or the parallel attitudes they
prefer in husbands?
Says Kathy, "Neither Peggy, Janet
nor I have been really in love as yet.
But to all of us, marriage is not a dress
you can put on and throw away when
you're tired of it. Marriage is a per-
manent thing. I really don't believe I
could marry a man who didn't have at
least most of the qualities I admire."
"I agree," says Peggy. "I'm sure
love is a wonderful feeling, but you've
got to ask yourself, 'Once I put aside
my emotions, what do I feel? Do I
really like this man, do I respect him,
and will love still be there twenty-five
years after the wedding bells have rung
out?' I honestly believe it's more im-
portant to like the person you marry
than to love him — but I expect to wait
until I find a man for whom I feel both.
Just as DeeDee did, Peg and I plan on
giving up singing and becoming home-
makers. We both want to build a good
life with a man who's interested in
building a good permanent life for his
family."
But what if you weren't blessed with
children?
"Why," Kathy asserted flatly, "in
that case, we'd adopt a few."
And Sis, speaking out of the acquired
experience and wisdom of her years
with Bill and the rearing of their happy
family, summed up with: "Not to share
your warm, loving home life with little
ones is to be single people within the
state of matrimony. A place must be
found for children even if the dollar
comes hard. Take away the sound of
children in the home, and the marriage
is like a fruit that started out to grow
nicely but never ripened because it was
nipped by an early frost . . ."
— Eunice Field
The Lennon Sisters sing on "The Law-
rence Welk Show," seen on ABC-TV,
Saturdays, from 9 to 10 p.m. edt.
Let's talk frankly about
internal
cleanliness
Day before yesterday, many women hes-
itated to talk about the douche even to
their best friends, let alone to a doctor
or druggist.
Today, thank goodness, women are
beginning to discuss these things freely
and openly. But — even now — many
women don't realize what is involved in
treating "the delicate zone."
They don't ask. Nobody tells them.
So they use homemade solutions which
may not be completely effective, or some
antiseptics which may be harsh or in-
flammatory.
It's time to talk frankly about inter-
nal cleanliness.
Here are the facts: tissues in "the deli-
cate zone" are very tender. Odors are
very persistent. Your comfort and well-
being demand a special preparation for
the douche. Today there is such a prep-
aration.
This preparation is far more effective
in antiseptic and germicidal action than
old-fashioned homemade solutions. It is
far safer to delicate tissues than other
liquid antiseptics for the douche. It
cleanses, freshens, eliminates odor,
guards against chafing, relaxes and pro-
motes confidence.
This is modern woman's way to inter-
nal cleanliness. It is the personal antisep-
tic for women, made specifically for "the
delicate zone." It is called Zonite®. Com-
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75
JACK LINKLETTER
(Continued from page 59)
least in their own opinion — a pair of
"real tough kids." And they wanted, or
thought they wanted, to show their
strictly-from-Squaresville, old-fashioned
parents that they were big enough to
make it on their own.
"I guess," says Jack a bit ruefully
now, "that running away was sheer
bravado. I went into it without really
thinking — or because the other guys
at school had done it, too. I wasn't
angry with Dad or Mother; in fact, I
was careful to leave a little note on
my pillow telling my folks not to worry.
And I added, 'Remember, Dad himself
hoboed around when he was a boy and
a fellow sort of has to follow his
father's example. Much love, Jack.' '
Jack and his friend took along a
couple of sleeping bags and packed
knapsacks with canned goods, K-ra-
tions and a carton of cigarettes. "I don't
know what I was going to do with the
cigarettes," Jack laughs now, "but I
took them along anyway. I understood
that was the thing to do."
In the frosty early dawn the boys
were still plodding up Highway 101,
footsore and weary, when Jack's dad
and a couple of his friends found them.
Rain had soaked their T-shirts, their
sleeping bags were clammy and com-
fortless, and cold K-rations were
nothing like good warm, Mom-prepared
breakfasts. Secretly, both kids were
relieved that they had been caught.
But Papa Art was furious with his son.
"How could you do this to me?"
Jack's father demanded. "Suppose we
hadn't found you and we'd had to call
the police? Wouldn't that have been a
nice mess?"
"Can it happen to me?"
Today, twenty-four-year-old Jack
Linkletter, a married man for some
years and father of a growing family,
looks back on that youthful escapade
and asks himself: "What are Bobbie
and I going to do [Bobbie is Jack's
wife] if our boys Mike and Dennis bust
loose when they reach their teens? How
am I, their father, going to feel? Are
they going to wish, as I did, that they
could shed themselves of that too-well-
known name of Linkletter? And can I,
in handling my children, make use of
the wisdom my father taught me — and
avoid his mistakes?"
Jack Linkletter, tall, husky, with his
father's warm grin and business
shrewdness — a fellow who had his own
coast-to-coast, nighttime color TV show
at twenty — is pretty sure he can profit
by his own boyish errors. Or, for that
matter, by his dad's more mature mis-
takes, the mistakes that even the most
loving, considerate, well-intentioned
parent can sometimes make.
T Human beings are fallible, as Jack
V well knows, and if he and his dad
r were occasionally at odds, the fault was
largely Jack's. Father and son were
basically affectionate and close — and
76
still are. "Remember," says Jack, "Dad
never knew who his real parents were,
while we kids had all the love and devo-
tion we needed. And no one had more
faith and confidence in me than my
dad did. I'll never forget the time
when I was in New York doing my
'Haggis Baggis' show, and Dad wrote
me a note I'll always treasure. There
were other letters from home, almost
daily letters, but this is the one that
meant so much.
" T can't begin to tell you' (Dad
wrote) 'how proud I am of what you
have done so far. With each appearance
you are looking more like a champion,
and I can see the growth in your poise,
confidence and authority from week to
week. Just keep on in the same direc-
tion . . . and I won't be able to find
much to complain about.' '
Young Jack grinned at the memory.
Then he went on. "Of course, Dad,
being Dad and a real perfectionist, had
to put a little P.S. on the note. 'I have
only one admonition,' he said. 'There
were eight "wonderfuls" in your show
last night. Go into a corner and repeat
over and over again, at least twenty-
five times, "I will not say 'wonderful'
again." Then get a Roget's Thesaurus
and write down all the other expres-
sions that are fresher and more won-
derful to use. Remember, this is your
"wonderful" old Dad, signing off to his
"wonderful" boy wonder on Broad-
way.' "
In the Linkletter home, the relation-
ship between parents and children
(Jack has a younger brother, Bob, and
three younger sisters: Dawn, Sharon
and Diane) was a fundamentally sound
relationship, and Jack could usually
go to his dad with his problems. "Even
in high school," Jack said, "Dad and
Mother, and I and my girlfriends, fre-
quently double-dated. Since my mar-
riage, we still do. Now and then, Dad
even allows me the 'privilege' of pick-
ing up the tab. We go cycling or play
badminton; we're a close-knit family,
and we've always had lots of fun to-
gether."
But Art Linkletter is pushing fifty,
and Jack is twenty-four. The two have
different viewpoints and lead different
lives. Jack himself is the first to admit,
"We're not at all the same, and we don't
always think the same."
Most of all, as Jack once said, "There
is a special ground for friction that is
steadily present between a Hollywood
star and his offspring from the day the
child is born: The famous name itself.
A star's child wears a kind of hand-
me-down prestige, and I, at least, re-
sented it. In my junior-high days, that
name 'Linkletter' became as unwel-
come and as hurtful to me as the name
'Lard' or 'Tubby' must be to an over-
weight kid. My brother Bob, who is
six years younger than I, took it fairly
calmly, but with my hot, explosive
temper, I got into trouble."
From his own experience, Jack knows
that, for the first dozen years or so, the
life of a celebrity's son — or daughter —
is a kind of magnificent fairy tale. The
youngster is petted, fawned over, de-
ferred to by older people who should
know better, and often allowed extra-
ordinary privileges. Even the most well-
balanced child can get emotional indi-
gestion. "As a Hollywood kid," Jack
once remarked, "it seems to you that
you have been created out of some par-
ticularly fine clay. Even when you sit
down at the breakfast table and you see
a cluster of strange people staring in
at you, you take it as a special mark of
recognition in a friendly world. And
then, when you're in your teens, every-
thing suddenly changes, and you dis-
cover you're strictly on your own.
That's when resentment starts taking
over."
Friends close to Jack are aware that
he will do his utmost to avoid this pain-
ful kind of awakening for his kids —
that he will try to give little Mike, 3.
Dennis, 1%, and the new baby girl
a truer sense of values. Jack and his
wise Bobbie, too, don't want their grow-
ing youngsters to take the tough-guy
route to trouble that so many celeb-
rities' kids take — and that Jack him-
self took, until he found the beginnings
of wisdom.
A thundering rumble
At Black-Foxe Military Academy,
Jack had been an all-A student, though
he didn't relish the rigid discipline.
But when he transferred over to Emer-
son Junior High, he got in with a rough,
tough crowd, even though most of the
students came from the better types of
homes. And, as he says, "My grades
slumped, because I didn't bother to
study for almost two years."
One time, Jack and his pals (Jack
probably resented the close watch that
was kept over him) got into a real
rumble that brought out the law. Late
one night, the gang rowdily barreled
into a quiet, residential neighborhood,
jumped yelling into the backyard
swimming pools, overturned furniture,
and kicked up such an unholy racket
that the police were called and came
screaming down the streets. When Jack
finally got home, long after curfew,
Father Linkletter was waiting — and
with the police report in his hands.
"If your purpose is to hurt me,"
Jack's dad said solemnly, "go ahead
and do it. I just want you to know in
your own mind what you're doing, and
I want you to decide if that's why you're
doing it."
That was when Jack looked into his
heart and discovered that he really did
not want to punish his parents. He
learned that his father was not so
much worried about the bad publicity
that might harm the Linkletter name,
but about the kind of human being
Jack was becoming.
All this self-discovery took a while,
and Jack had to be moved from the un-
favorable climate of Emerson into
Beverly Hills High. He continued to
travel with some of the old, tough
crowd, but his heart was no longer in
it. As he has said, "I began to mix
more with my classmates at Beverly
Hills. I ended the year as president of
the junior class, and I was master of
ceremonies of our talent show. My
final two years of high school are
among the best years of my life."
There were, of course, certain things
that he still didn't like about his
father's way of bringing up the chil-
dren. "For instance," says Jack, "none
of the five Linkletter kids was ever
given a regular weekly allowance.
What money we got, we had to earn.
If I asked for a dollar to take a girl to
the movies, Dad would say, 'All right,
wash the car,' or, 'Go clean up the
garage.' I won't say Dad's way was
wrong, but personally, I don't relish
price tags on things. My children will
get regular allowances, but they'll also
be taught the true value of money."
When Jack married Barbara Hughes,
he was then nineteen, and she about
six months older.
"No, I don't think I married too
young," Jack said. "Dad and Mother
weren't much older when they got mar-
ried. Dad was the kind of lad, or so
he once told me, who liked to skip
around from girl to girl, while I was
the more conservative type. I always
went steady with my girls — at least
for a couple of weeks. But when I met
Bobbie . . . well, that was it."
The two youngsters did a smart thing.
Bobbie had come from a broken home,
and she had a great feeling of in-
security about herself and marriage.
She had to be absolutely sure that her
marriage would last. That's why she
and Jack went together for a year and
a half, and were formally engaged for
nine months. Even more, the young
couple decided that a "preparation for
marriage" course would help them im-
measurably. So they enrolled in, and
faithfully attended, Dr. James Peter-
son's "Family and Marriage" clinic
at U.C.L.A.
"We got so much out of it," Jack
chuckles, "that we decided to have Dr.
Peterson marry us, and he did. The
ceremony took place at Pasadena's
Oneonta Church. There were about
five hundred people present, including,
of course, both our families. I'll never
forget the moment when Dr. Peterson
came up to me, while I was nervously
pacing the vestry, and demonstrated
that he'd learned a little about show
business. Til tell you one thing, Jack,'
Dr. Peterson smiled, 'for this wedding
of yours, you've pulled a great house!' '
Today, Jack and Bobbie are building
a big new home in Brentwood, with
four bedrooms alone for the children
— those they have, and those they ex-
pect to have. "We want at least four
kids," Jack revealed, "and Bobbie and
I have decided to have them all right
away, one after another — boom, boom,
boom. I want to have time with them
as they grow. I don't want them spread
out too far apart. That was the trouble
in our own family at home. Dad and
Mother, probably for financial reasons,
had their five kids too many years
apart. Take my youngest sister, Diane.
There's almost a dozen years' difference
between us, and sometimes I feel I
hardly know her."
Discipline his kids? Oh, yes, Jack
will discipline his youngsters, all right.
Little Mike and Dennis, and the other
babies to come, may not be held by as
tight a rein as Art Linkletter held his
children — but Jack's children will
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learn to obey. And if they don't, their
little bottoms will feel the strong hand
of authority.
Fond Mama Bobbie was the one who
cringed from spanking little Michael
— at first. "No spanking for my chil-
dren," she used to say to Jack. But Mike
can be a handful, as both young
parents have discovered. He is spirited,
anything but docile, and can be very
stubborn. He needs a firm hand and
guidance, and, as Jack grins, "I think
Bobbie has finally learned how to
spank."
Yet Jack is sure that there is one
course his father followed which he
definitely will not adhere to. "Parents
tend to over-protect their kids," Jack
says. "That's why, I suppose, my
brother Bob and I were sent to private
schools. We hated it. But my children
— I hope — will all go to public schools.
I don't want them to have a hot-house
life. They'll mix with all kinds. Chil-
dren, during their vital formative years,
should get their opinions right from
life, first-hand, not second-hand. They
should be exposed to both pain and
pleasure, not wrapped in cotton-wool."
No, Jack doesn't mind his young-
sters following his footsteps — and their
grandfather's — into show business. That
is, if they want to. Little Mike has
already racked up a long list of credits
for appearances with both Jack and
Art. "Really," says Jack, "I can't
think of a better arrangement than for
a son to follow in his father's path in
any business. After all, he becomes
accustomed to it and schooled in it
very early. A carpenter's son should
know more about building shelves and
cabinets than a fellow who doesn't
study carpentry until he's grown."
Still, Bobbie Linkletter doesn't seem
quite so enthusiastic about an enter-
tainment career for little Michael.
"Look, Jack," she keeps telling her
husband, "let's not railroad our son
into show business."
Jack definitely will not. He knows
that professionally it was all too easy
for someone like himself to get a start
in TV; after all, he was Art Link-
letter's son. But he knows, too, that
sometimes the carefree, happy years
of the mid-teens get squeezed out or
lost — and he is not going to let any-
thing like this happen to his children.
They'll be guided and counseled, and
they'll learn both from their father's
mistakes — and their grandfather's.
"I think," said Jack, "it's the in-
security of show business that dis-
turbs Bobbie. True enough, you make
good money while you're working. But
when you're not working, that money
has to stretch. I've had several shows
canceled out from under me, and I
know how it feels. I've got a big house
with big payments."
Canny Jack, however, has little real
need to worry. He has just built, with
an associate, a big apartment house in
Santa Monica; he has interests in a
chain of children's dance schools and
in an entertainment packaging com-
pany which handles and produces fairs
and civic events. He is also a principal
member of an insurance agency and is
an investor and developer of tract homes
in San Diego. But probably the most
interesting of his extensive outside
activities is his position as administra-
tor of his father's far-flung enterprises.
"That dad of mine is a real charac-
ter," Jack laughs. "Why, he has oil
wells and real estate he's never even
seen. And what he does to his check
book! He never enters the amounts in
his stubs. When I call him on it, and
I do, he says, 'Now, Jack, if I'm over-
drawn, the bank will tell me about it.'
That's my Dad. He revels in wheeling
and dealing, but hates details. I love
them."
If Jack had his childhood to live
over again, he might — just might — live
it differently. But Art Linkletter gave
family life a warm meaning, a close-
ness that Jack and his brother and
sisters will always treasure. And Jack
is not really too concerned about any
little mistakes his dad may have made.
Art Linkletter, basically, did a grand
job with his son, and that is the lesson
Jack will carry with him, always.
— Favius Friedman
Jack Linkletter hosts "Here's Holly-
wood" over NBC-TV, M.-F., 4:30 p.m.
Art Linkletter's "House Party" — also
M.-F.— is on CBS-TV at 2:30 p.m., on
CBS Radio at 10:10 a.m. (All edt.)
mini iiiiiuiiiMiujii
EDDIE FISHER
iiiiiiiiiiiiiimiiiiinmiiKn
(Continued from page 25)
"If I ever needed you," he sang, "I
need you now." The young man spread
his hands in a gesture of appeal. The
women in the studio audience rose,
shouting and crying, in answer to his
pleas. Millions of housewives, watching
on television, turned to their husbands,
remarking how much they liked that
nice boy. And one woman, in particular,
thought she'd never forget him. . . .
The "nice boy" with the easy bari-
tone ballad was young Eddie Fisher,
and the year was 1954. At twenty-four,
he was a phenomenal success. Four of
his records had passed the million
mark, and his personal appearances
were sold out as soon as they were an-
nounced. Eddie had come a long way
in a short time.
The Woman knew all about that.
The early poverty in Philadelphia . . .
the first tries for a career . . . the night
at Grossinger's when Eddie Cantor dis-
covered him . . . the big night at The
Riviera night club when, filling in at
the last minute, young Fisher proved
that Cantor had been right. He was
"going places." She knew, too, of the
day in 1951 when Eddie Fisher opened
T his mail and found, among the fan
v letters, a notice of a very different sort.
r For the next two years, he was booked
solid with the U.S. Army. He was head-
lined as soloist with the Army band,
78
singing at recruiting rallies, and enter-
taining the troops in Europe, Japan
and Korea. Private Fisher's vocal apti-
tudes made a lot of girls forget briefly
that they were lonely and their men
were far from home. The men them-
selves remembered the shy kid who kept
smiling and singing in spite of his
tedious journeys and impossible sched-
ules.
When Eddie came home in 1953, his
fans clamored for more records, and
TV and radio networks begged for his
services. Less than a month after he
left the Army, Eddie faced the cameras
and mikes with a bottle of Coke in his
hand. He looked sort of nice and shy,
a skinny kid with dark eyes and a
friendly smile. He wasn't a brilliant
conversationalist or a great comedian.
He didn't have to be.
He simply sang the ballad-type songs
he liked, and the whole country heard
and saw in him the things they liked
best. His style and material were in-
offensive — no gimmicks or fads — a
straightforward style and a fine bari-
tone. And everyone listened, and
bought records and Coca-Cola. Eddie
had the universal appeal. Teen-aged
girls liked Eddie. Obviously. He was
both good-looking and shy, the kind of
fellow who would hold a girl's hand and
say something romantic . . . and maybe
blush. They dreamed of marrying him,
or someone like him.
And teen-aged boys liked Eddie, who
was like a teenager himself — one of
the gang. He looked just a tiny bit
puny, as if you could beat him up if
he made a play for someone's girl. He
looked a bit timid, too, as if he needed
friends.
Young wives liked Eddie. They could
imagine being married to him ... or
he could easily be a kid brother, or
the type of a man "our Junior" will
some day be. And young husbands
liked him because he was not pretty-
boy handsome . . . and because he had
had a real struggle to become a suc-
cess, such as they themselves were
having. Moreover, Eddie was a soldier
who had done his bit.
Older people liked him. He might
have been their own son. A nice
religious boy who respected his parents.
Excellent manners, and a clean-cut
appearance. The kind of boy they'd
want their daughter to marry.
And the Woman thought about him
often, glad for his success.
Eddie Fisher was the ail-American
boy . . . rags to riches . . . Horatio Alger
. . . "Mr. Cinderella." By the time he
was twenty-four, Eddie had rocketed
to heights that few performers reach
after an entire lifetime
What more could a fellow want?
Well, a fellow needs a girl, and the
press was hot for Eddie to find romance.
They linked him with one starlet after
another . . . until he happened to meet
Miss Debbie Reynolds, a national idol
in her own right. In the following year.
their friendship was the talk of Any-
town, U.S.A. He loves her, loves her
not . . . when would they marry . . .
why such a long engagement? Only the
two of them know the truth about when,
if ever, they actually did fall in love.
Perhaps the publicity confused them
... or maybe, like many other young
people, they were in love with love.
There is no doubt, however, that this
was a dream-come-true for their fans.
Eddie Fisher, all-American boy, won
and married Debbie Reynolds, the girl-
next-door.
The next thing on the fellow's agenda
was the vine-covered mansion and the
patter of little feet. Reporters flocked
to see how many ways Debbie could
make hamburger. All seemed blissful.
Eddie defended his prenuptial hesita-
tion by insisting that he had to be sure
the marriage would last forever.
In 1956, Mr. Fisher became the
father of a baby girl . . . and Carrie
Francis was the apple of his eye. He
doted on his daughter, and thousands
of pictures were printed of the happy
Fisher threesome. But, even then, there
were hints of trouble to come. No one
can verify the stories, but it was said
that all was not well . . . that Debbie
was tight-fisted and Eddie a spendthrift.
(What could be more natural for a
boy who had never known how it felt
to have a few bucks in his pocket?)
They said that Eddie spent lots of
time carousing with the boys, but
Debbie didn't get along with his friends
. . . and men usually will not stay away
if things are peachy at home. People
said he was jealous of his wife's suc-
cess with her record of "Tammy" and
her popularity in the movies. They said
Eddie was growing stale. (If jealousy
was a factor, why would Eddie turn to
a more glamorous and popular woman
than Debbie?)
But the marriage continued, and
Debbie gave birth to a son they named
"Todd," after Eddie's dearest friend,
Mike Todd, who was married to Eliza-
beth Taylor. Eddie was twenty-eight.
He had fame, fortune, friends, a pretty
wife and two fine youngsters.
Then Eddie shocked the world by
throwing away everything he had
worked for, to chase Elizabeth Taylor.
The lovely actress was mourning the
death of the fabulous Mike Todd . . .
since Eddie had been his bosom friend,
it was natural that, when Eddie went
to New York on business, he would call
on Liz and try to cheer her up. They
dined together . . . and the whispers
started immediately. Was it a love
affair? What was going on?
Fisher denied the gossip and returned
to his wife. Whether Debbie accused
him of infidelity, or whether she be-
lieved in his innocence at that point,
no one knows but the two of them.
Eddie Fisher swore he didn't love
Elizabeth — that he had no intention of
seeking a divorce. Why he left, no one
can really say. Was it the result of the
previous troubles, as Eddie said? Did
he fall in love with Miss Taylor only
after his own marriage was on the
rocks? Whatever their relationship had
been, Eddie had always been respected
as a wonderful and loving father. He
hated to leave his two children.
Eddie also deserves credit for his
behavior between the parting and the
divorce. The scandalous gossip of the
"triangle" fell upon his shoulders, and
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he bore it like a gentleman. Eddie
accepted all the blame, and with quiet
dignity. Perhaps the union could never
work because of the differences in the
two partners. But Eddie publicly said
it was his fault, that Debbie had tried
and he had failed.
The love that failed
He had failed to learn how to love
his wife. (Can one learn to love?) So
Eddie played the role of villain. And,
through it all, Debbie was brave and
truly acted like a little lady by not in-
volving Liz in the divorce proceedings.
And Eddie lost his kingdom. His
record sales fell, his name was ruined,
his sponsors dropped his TV show,
and his network tried to squirm out of
the remainder of his fifteen-year con-
tract. He gave Debbie most of his
savings and properties. Everything was
gone. He felt the damage to his career,
but the deepest pain of all was the
separation from little Carrie and Todd.
He had thrown it all away.
He had also thrown away the respect
of the Woman who would be most im-
portant in his future. Shocked, hurt,
disappointed . . . not wanting to believe
. . . she turned away. Her "nice boy"
had become someone she did not want
to know.
All this he threw away . . . for Liz?
For love. Eddie said that he found love
for the first time in his life. Where
Debbie had been an efficient little
manager and a dutiful wife, Eddie
found strange and exciting qualities in
Liz. Liz needed him like a woman ought
to — has to — need her man. They were
married in Las Vegas after Fisher was
granted a quickie divorce. "This mar-
riage will be for the rest of our lives,"
said Eddie. He said it sincerely, and
hopefully. Liz said so, too.
Eddie started producing, and bought
his own recording company. He began
managing his wife's career, which had
not been affected by the gossip — except
possibly to increase her allure at the
box office. Earlier in his career, Eddie
Fisher had played a command per-
formance for England's Queen Eliza-
beth. Now he was at the command of
America's queen Liz. She insisted that
Eddie appear with her in "Butterfield
8." And so Eddie studied acting with
Stella Adler, the New York drama
coach. It didn't help much. Liz got an
Academy Award for her portrayal, and
her husband was named "Worst Actor
of the Year" by the Harvard humor
magazine, The Lampoon.
For the most part, Eddie's singing
career fell by the wayside, in favor of
Miss Taylor's enterprises. Eddie Fisher
decided to assist in producing "Cleo-
patra" and his major job — for which
he received a handsome salary — was
simply to keep his wife happy. She was
preparing her role when she suddenly
fell ill ... a grueling climax to the
many bouts both the Fishers had had
with sickness in their brief marriage.
T Eddie lost some thirty pounds with
V the worry and watching at her bedside.
r Nevertheless, he refused to leave, or to
give up. He wouldn't let her die. Not
the woman he loved! As Liz fought for
80
her life, Eddie fought, too. He asked
the world to join him as he prayed by
her deathbed. . . .
He continued to pray with all his
heart . . . and the prayers were
answered. The crisis passed. The lovely
Miss Taylor regained her health. Dur-
ing her convalescence, Eddie took her
to sunny Tesorts where he tried to revive
his night-club career. The public saw
that his adoration went far deeper than
the voluptuous Taylor body and face.
And the Woman, who had rejected
him, began to see the good in this boy
again. Still, when he made his first
new recording in a long time, she
didn't buy it.
But a return to work could not re-
place the emptiness Eddie felt without
his children. The Fishers learned that
Liz could never have another child.
Debbie's little ones would see their own
father very infrequently, and they
would grow up under the guidance of
Debbie's new husband and regard him
as a father. Liz had three children . . .
two boys from her second marriage, to
Michael Wilding, and Mike Todd's
daughter. Eddie loved all the children
... if he could, he would have adopted
all three of them. Instead, he was only
allowed to become the daughter's legal
parent. The adoption was arranged,
and the little girl was named Liza Todd-
Fisher.
Eddie still desired a larger family;
he was one of seven children himself.
And he had a heartful of love to share.
Liz made plans to adopt another child.
Fisher knew he would be accepting a
great deal of responsibility. Liz was
always so busy. She needed time to
relax in her room, to rest upon her
feathery pillows. She would play with
the children for a while — no one
doubted that she loved them — but the
majority of the attention had to be
left to nursemaids and to Eddie. Still,
he wanted a large family to love. . . .
And now Eddie Fisher, the man who
had everything, will have nothing. Liz
Taylor will divorce him. There is not
as much wealth as one might suppose,
for the Fishers have lived like royalty
and traveled in the greatest style im-
aginable. Liz's illness cost a small
fortune. But far worse than such losses
is the extreme humiliation Eddie Fisher
has suffered in the eyes of the world.
Perhaps you feel that he deserves
this treatment . . . that he dropped
Debbie and is justly punished by having
Liz jilt him. But he never treated
Debbie with anything but the greatest
consideration. He took care to consult
her, and to make mutual agreements
upon the stories they would give to the
press. There was no shock or embar-
rassment.
Eddie doesn't seem to have had the
vaguest knowledge that Liz had grown
tired of him and wanted new romances
and conquests. Despite all the rumors
about Richard Burton, her co-star in
the filming of "Cleopatra," Eddie
denied the stories vehemently while
still in Rome.
When Eddie arrived in New York
City, he still denied that Liz and Burton
were carrying on. Fighting the divorce
rumors, he stayed briefly in a local
hospital. Finally, he was ready to face
the newsmen and columnists. "There
will be no divorce between — " In mid-
sentence, the phone call came from Liz
in Rome; she would not confirm his
statement.
Mr. Fisher looked very foolish in-
deed. His wife would have been far
kinder to have saved him the shame of
being the last to know. Instead, she
waited till he had left the country, to
drop him and make a fool of him. As
one journalist remarked, "Liz tossed
him away like a squeezed lemon."
Far worse for Eddie than the loss of
the raven-haired Liz is the certain
estrangement from the four children.
He loved Wilding's sons, Todd's child
and Liz's newly adopted one as if they
were his very own. He had suffered so
much with the parting from his own two
. . . when he said goodbye to Carrie
and Todd the last time he was per-
mitted to see them, the pain in his heart
was mirrored by the sorrow in his eyes.
He watched them go and stood silently
for a long time . . . then took a deep
breath and turned back to Liz.
Now Liz has turned Eddie away.
Now it's up to the Woman
Twice, Eddie Fisher had the world
in his hands. And twice he lost it! He
stands now with empty hands before
the one woman who can help him.
Or is he beyond help? Is Eddie
washed up, at thirty-three? He has
changed a good deal, from the "nice
boy" we used to know. Eddie no longer
looks shy and innocent. The burden of
his sorrow and his rich living are dis-
cernible in his once-boyish face. He is
no longer the guileless kid from Philly.
Or the guiltless kid, for that matter.
He has been punished. The question
is: Has he suffered enough? Has he
been punished enough?
The editors of this magazine ask you
— for you are the Woman who has the
power to help Eddie now. You — and
the many others like you who once
loved him and then, in anger, turned
from him. We ask you to tell us what
you think now. Does Eddie Fisher
deserve another chance to prove his
talent? Only you can give him that
chance. We will send your ballots to
the TV networks and producers. We
will tell them how the public feels today
about its fallen idol.
How do you feel about him? Do you
think it's time to give him another
chance? — Lynn Jackson
HOW DO YOU VOTE?
Does Eddie Fisher deserve another
chance? Check one square to ex-
press your own opinion, then clip out
this box and mail to: Eddie Fisher
Ballots, TV Radio Mirror, P.O.
Box 1937, Grand Central Station,
New York 17, New York.
□ YES
□ NO
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81
82
IHMIIiilllllllllHIIIIIIIMKIIIilMIIIII MMIIIIIIUIIIIIIIMIII 1 illlmil nil
RICHARD CHAMBERLAIN
(Continued from page 27)
laugh. And the more he read, the more
he laughed. Nobody, he decided, could
be as ridiculous as the actor in that
article.
The story was about Dick Chamber-
lain.
When Dick had finished the article,
his first reaction was to wonder why
the author hadn't bothered to talk to
him before writing it.
His second reaction was to go back
through the piece and pick out the
worst mistakes. There were so many
that it became almost a game — a very
high-scoring game! But finally he nar-
rowed it down to what he laughingly
thought of as The Seven Deadly Errors.
1. "As a child, Dick was so pain-
fully shy that he always kept to him-
self. He was a real loner."
2. "He didn't get along with the other
boys, because he was awkward and
sickly."
3. "He never dated during his school
years — didn't have the nerve!"
4. "He was so studious that the other
kids called him a grind."
5. "Even today his shyness still
plagues him; he paints in his spare
time — to get away from people."
6. "He's ill-at-ease being a celebrity
and wishes he were still unknown to
the public."
7. "Although he stars on a weekly
television show, he lacks confidence in
his ability and is very much afraid of
the future."
It wasn't all lies. It was something
much more dangerous — a collection of
half-truths, false guesses and bits of
phony psychoanalysis that added up to
a completely distorted portrait.
And yet, he suddenly realized, if
each of the errors were straightened
out in turn, the result would be a
fairly complete mosaic of the real Dick
Chamberlain — a guy he'd gotten to
know pretty well during the past
quarter-century or so.
He thought about that first state-
ment: "Painfully shy child ... a real
loner." It was true that he had been
shy in school. Both at Beverly Vista
Grammar School and in Beverly Hills
High School, he'd been known as a
person who never had too much to say.
But it certainly hadn't made him a
"loner"! There'd been six or seven
guys who'd gone all through school
with him from about the fourth grade
on, all good friends of his. And when
they'd reached dating age, an equal
number of girls had joined the group.
Of course, there had been the braces.
. . . those ugly, prominent, awkward
braces he'd had on his teeth for a few
years during school. How he'd hated
them — and tried to keep his mouth shut
as much as possible.
But it was true — he never did have
much to say. However, in school that
can be an asset; kids tend to resent
anyone who comes on too strong. It
had helped get him elected a class
officer, as well as (in his senior year)
"Most Sophisticated," "Most Courte-
ous" and "Most Reserved."
He'd also been chosen "Best Phy-
sique" — which pretty well took care of
the second claim, that he was "awkward
and sickly" in school. He'd gotten that
physique by swimming, riding — and
by running on the school track team.
Some of his best friends were the other
boys on the team. Later on, at Pomona
College, he'd starred on the college
track team, too.
Number Three : "He never dated dur-
ing his school years — didn't have the
nerve!"
"I wish the three girls I went steady
with in high school had known that,"
he thought.
There had been difficulties, though,
and embarrassments. One was the fact
that he didn't have his own car, which
forced him to double-date or have his
father drive.
A blow to his pride
And there had been the time he was
invited up to a girl's house at Arrow-
head for a week, along with another
couple. That was a week he preferred
to forget.
Everything had gone fine for the
first days. But one night his girl's
parents had gone to a party for the
evening. Dick and the girl — her name
was Anne — were sitting near the fire
with the other couple, feeling pretty
romantic, when the doorbell rang. It
was Anne's ex-boyfriend, and for over
an hour Dick had to sit quietly while
the boy, who was older, dominated the
conversation and made a play for
Anne. To top things off, Anne and the
boy went for a ride around the lake,
leaving Dick without a girl. They
didn't come back for hours. The next
morning, Dick took a bus back to town.
But even that hadn't really discour-
aged him, and by the following fall
he was back in the dating swing again.
Error Number Four was really a
whopper: "He was so studious that the
other kids called him a grind."
As a matter of fact, this might have
been the cause of his shyness — not that
he was a grind, but that he did rather
poorly in school. He was afraid some-
times that the other students would
laugh at his disinterest, so he tended
not to say too much if he could avoid it.
It wasn't that he was stupid; he just
wasn't very interested in school. And
it showed up in his marks. In fact, he
could trace the crowning embarrass-
ment of his school years to his poor
marks : When he was in the third grade,
his entire class skipped ahead a half-
year when the school changed its grade
system. All except Dick. He was put
back a half-year. It was like flunking,
and the insult rankled for a long time.
Fortunately, a patient and understand-
ing teacher named Florence Mont-
gomery had then entered the picture,
and with her help — particularly in in-
creasing his reading speed — Dick's
studies were no longer a problem.
But not until he entered Pomona Col-
lege did Dick really become interested
in school. That was when he discovered
acting. For the first time, his interest
was seized and held, and the change
was remarkable. Suddenly, there wasn't
enough time in the day to learn all he
wanted to about acting, and with de-
light he lost himself in preparations
for a whole series of school plays.
But in losing himself, he had found
himself at last. This, he suddenly knew,
was the way he wanted to spend his
life. After college, a two-year interval
serving in the peacetime Army in Korea
seemed almost interminable because it
kept him away from acting, and as soon
as he was back in Los Angeles as a
civilian, he began to search for work
in TV and movies. Now he was some-
thing of a "grind." As a year and a
half went by, during which he lived
frugally on the skimpy income from
occasional television roles, much of his
money went into dramatic lessons with
Jeff Corey and singing lessons with
Caroline Trojanowski.
Dick looked at Error Number Five:
"His shyness still plagues him; he
paints — to get away from people."
But that was the amazing thing. Al-
though his shyness had never really left
him, he'd somehow discovered the abil-
ity to turn it from a handicap into
an asset. It certainly didn't "plague"
him. In high school and college, ap-
parently, the other students had actu-
ally found his reserve appealing and
easy to take. And it had proved to be
of real benefit in his career. For shy-
ness, he had discovered, could really ,
become a kind of control — a control
of the emotions, keeping them from
getting out of hand, so that he could
select the proper emotion when he
needed it in his work. Other actors,
he'd noticed, would sometimes get so
carried away by their roles that they
went overboard and threw their whole
performance out of focus. He, on the
other hand, could keep his power in
reserve until it was needed.
It was true that he still painted — he'd
been a painting major at Pomona when
he decided that his real interest lay
in acting. But he had decided against
painting as a career partly because it
kept him away from people. The life of
a painter, alone for hours every day
with his canvas, was too lonely a pros-
pect for a life's work, he'd decided.
Now painting was a pleasant relaxa-
tion, an added creative outlet, but noth-
ing more. Certainly he didn't do it to
avoid people.
True, he did try to avoid typical
Hollywood parties, with their hordes of
guests. But that was mainly because
they were so hectic you couldn't really
get to know anyone. And now that
acting had illuminated his life, he loved
to talk about it to people who were
willing to listen and to contribute their
own ideas. That was why he'd been
dating girls like Myrna Fahey, Carole
Wells and dancer Vicki Thai. They
were either actresses, like Myrna and
Carole, or interested in show business,
like Vicki. Dick hadn't gotten really
serious with any of them, because right
now he wanted to concentrate on his
career. But he certainly enjoyed their
company and hoped they liked him.
Error Number Six was easy to dis-
pose of. "Ill-at-ease being a celebrity,
he wishes he were still unknown to the
public." Unknown to the public was
what he didn't want to be. Everything
he'd done during the past few years
— his studies, his struggles to find work
and gain acceptance — all these had
been directed toward the goal of achiev-
ing success as an actor. And public
approval was an indispensable sign of
that success.
Finally he thought about Error Num-
ber Seven: "Although he stars on a
weekly television show, he lacks confi-
dence in his ability and is very much
afraid of the future."
He wasn't satisfied with himself —
that was true. The day he became com-
pletely satisfied was the day he'd stop
growing, and he never wanted that to
happen. But thanks to people like his
singing teacher, Caroline Trojanowski,
he'd gained a confidence in his ability
and his potential that had enabled him
to weather the bleak period before suc-
cess came his way. And he hoped he
had the perspective to weather success.
COMEDIANS' WIVES
(Continued from page 34)
more of you than another man. Comedi-
ans depend so deeply on their wives.
They know you're not going to hurt
them.
"Our house revolves around Andy.
Dinner is when he's ready. If he takes
a day off, I cancel my plans. If he's
home earlier than expected and I'm
out, he's like a bull in a china shop.
He wants me here when he's here. It's
a form of selfishness. You must give all
of yourself and not expect much in
return."
Having met Andy when both were
music majors at the University of North
Carolina, the green-eyed Southerner
married him three years after he pro-
posed — which was three days after they
met. Her one-time theatrical itch now
gets scratched with hobbies like choir
work and poetry writing.
Explains Barbara. "A comic has an
absolute super-ego. It's up to a wife to
appease this ego."
In common with most comedians, her
husband is a good family man, ex-
tremely generous, gracious about her
relatives. He tries to please, but: "It's
a hard life in that there's a constant
digging of yourself. A constant giving.
A continual satisfying of the other's
needs."
Plainfield, New Jersey's Margie Little
Durante, permanently engaged to Gen-
tleman Jim some fifteen years, now
married to him some eighteen months,
says, "We're very happy, but generally
if you marry a comedian it's rougher
than if your husband is a butcher or
baker. It's not a normal, routine, nine-
to-five existence.
"Jimmy usually gets up. eleven or
twelve. Now he's up at six making the
movie, 'Jumbo.' He usually goes to bed
midnight, but when he's working night
clubs, it's not until four a.m. Most men
When Dick had finished going over
his list, he was ready to throw the
magazine away.
"Wait!" he thought. "There must
be something in this article that's com-
pletely correct."
There was. In fact, there were two
things. One at the beginning and one
at the end. He read them over:
"Richard Chamberlain was born on
March 31, 1935, in Los Angeles, the
son of furniture manufacturer Charles
Chamberlain and his wife Elsa. . . .
He is now under contract to Metro-
Goldwyn-Mayer, where he has appeared
in a feature picture, 'A Thunder of
Drums,' and is seen each Thursday in
the title role of the 'Dr. Kildare' series
over NBC-TV."
Dead right, Dick had to admit. For
the most part, the article was only
wrong about the things that had hap-
pened in between. — James Gregory
"Dr. Kildare" time on NBC-TV, Thurs.,
is 8:30 to 9:30 p.m. — edt, that is!
relax at night. Jimmy's relaxation is
the races in the middle of the afternoon.
"Then there's the traveling. We re-
cently adopted our first child, a brand-
new baby. With children, you can't
leave town whenever your husband has
to. Many wives worry when their hus-
bands are away. You know, there are
always younger women and stars al-
ways attract the most beautiful ones.
The first five years, this bothered me.
It doesn't anymore.
"Another thing," the redhead went
on, "is Jimmy likes lots of attention. If
he's suddenly hungry at four in the
afternoon and I couldn't eat until seven,
it makes no difference. He wants me
to sit down and join him. ... Do I?
Of course!
"Or if he hurts his finger, it's a
'catastastroke.' Instead of a Band-Aid.
he'll have it bandaged with splints and
keep rushing to the doctor.
"A comic's wife needs nerves of steel.
Especially if he's doing TV or open-
ing in a night club. I'm terribly nervous
then. I just sit there praying. He always
insists he's not worried, but I know he
is. To give him confidence, I say, 'Oh.
honey. What are you worrying about.
You know you'll be great.' And after
each performance, he'll ask how he did.
This is after fifty years in show busi-
ness. But they're all that way."
To love, honor and applaud
One important element is that a wife
be able to "speak the lingo," as Milton
Berle put it. Comedians think, breathe
and eat comedy. To them, it's serious
business. The butcher and his wife
rarely sit around the fire of an evening
debating the merits of chuck steak vs.
veal cutlets, but a comedian's frau is
always consulted on which gag she
likes, why she likes it, why she thinks
everybody else will like it. etc.
Result is. most of their wives come
from some phase of show business be-
fore giving it up to "love, honor and
applaud." Ruth Berle was a press agent.
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83
Bob Hope's Dolores, a singer. Comedi-
enne Kay Leonard married Jack E. on
a U.S.O. "Hellzapoppin" tour. Morey
Amsterdam's wife, Kay, was a model.
Ditto Eden Marx and Mrs. Phil Foster
(Joan Feather stone) . Montezuma, Geor-'
gia's Kathleen Mann, who became Toni
Kelly, the once-upon-a-night-club show-
girl, is now Jan Murray's everlovin'.
Sherry Dubois (nee Ethel Cohen) gave
up being a dancing teacher to acquire
Buddy Hackett and two little Hacketts.
Sarah Herman, an actress, met Shelley
Berman in a Chicago dramatic school.
Ballerina since eleven and actress since
twelve, Betty Lou Padoshek married
Ken Murray after auditioning for his
"Blackouts" revue. Patti Palmer Lewis
sang with Jimmy Dorsey's band when
Jerry found her. Arnold Stang's missus,
Joanne, was a reporter who interviewed
him. Orlando, Florida's Evelyn Patrick,
on radio since age four, renounced her
successful TV career six years ago to
care for Phil Silvers' scrapbook.
"Our wives need to be two things.
One is a rock. The other is an ear,"
said Milton Berle.
"With the pressures of the business,
the uncertainties, always trying to per-
fect new jokes, always having to be
funny, playing different places, you
need a woman who's a rock. I had this
in my mother. Now I have it in my wife.
"Comedians need plenty of guts, a
built-in nerve, no inhibitions. They have
to be calloused, able to flop. They need
someone to lean on. They need what's
called 'a stand-up dame.' And that's
what Ruth is.
"A comedian's wife needs to be 'a
handler.' Ruth's a great handler. When
I'm upset she gives me the 'just take
it easy now' routine." He illustrated
with what happened when he worked
the Eden Roc in Miami Beach. The
night before he opened, he'd promised
to be in bed by two a.m.. but things
just weren't going right. It was very
late and he was still re-staging, pacing
and getting generally more nervous and
unstrung. A quarter to four, Ruth
walked in. She took one look, called
him over and said quietly, "Pack up.
You're through for tonight. You're go-
ing upstairs." And Berle packed up and
went upstairs.
One famous television wit maintains
he and his confreres are not normal
people. They're abnormal. But they
need normal wives. He claims a comedi-
an can't maintain a 50-50 marriage.
It's 65-35. Sixty-five percent of the
giving is on the part of the wife. Buddy
Hackett also derides 50-50 marriage.
"In my house," he crows, "I'm the
boss and she's the subjects."
One obvious fact about comedians'
wives is that they love their husbands
dearly, are extremely protective and
generally happily r married. Mrs. Joey
Bishop: "My only comment is, I love
my husband very much. We all do. The
whole family."
Mrs. Bob Hope: "Our whole family
loves Bob's business and everything
T about it. But that's because we love
y Bob. We all idolize him."
r Mrs. Jan Murray: "Comedians are
gentle people. Vecy sensitive. Easily
wounded. A comic suffers great pain.
84
They require a lot of love. But marry-
ing a comedian is wonderful because
if you do something wrong, his reaction
to it is funny ... I only wish every-
body could be as happy as we are."
Married 28 years, Dolores Hope, an
erudite, highly intelligent conversation-
alist, says Bob is unusual in that he's not
temperamental. Admittedly, comedy is
"a tough profession ... a precarious
business." And Mrs. Hope's analysis
of why Mr. Hope doesn't permit himself
the luxury of temperament is that he
approaches his work scientifically,
much as any other business man. Says
Dolores, "Bob works very hard and
thinks very hard about his profession.
He never lets down for a second, even
though his popularity is 'way up."
Dolores believes wives must indulge
their individuality to prevent relying
emotionally on their husbands for every
inner need. She insists it's an obliga-
tion to develop mentally and physically,
to pursue hobbies and thus avoid being
a drudge. When things get snafued,
she takes it out on the golf course.
To Dolores Hope, comedians aren't
PHOTOGRAPHERS' CREDITS
Dick Chamberlain color by NBC; Len-
non Sisters black-and-white by Leon
Beonchemin of Topix; Lennon family
color by John Hamilton; Chuck Connors
family by Dick Miller; Vince Edwards
and Bettye Ackerman by Bill Kobrin;
Bobby Darin and Sandra Dee by Lee
Thody of P. I. P.; Nancy Sinatra and
Tommy Sands by Larry Barbier; Eliza-
beth Taylor and Richard Burton by
P.I. P.; Roger Smith and wife by Globe;
"The Clear Horizon" by CBS; Grace
Kelly and Alfred Hitchcock by Pictorial
Parade; Art Linkletter and family by
Frank Bez of Globe; Annette Funicello
and Nino Castelnuovo by Elio Sorci of
P.I.P.
a breed different from everybody, "ex-
cept they're high above any other kind
of people. Even entertainment people.
They have great heart. Do unsurpassed
charitable work. They're extremely tal-
ented. They take your mind off prob-
lems, make you laugh. They are the
true entertainers."
And are these true entertainers truly
entertaining offstage?
Q: (of Mrs. Morey Amsterdam) Is
he funny around the house?
A : Usually . . . until I ask for money.
Q: Do you laugh at his jokes at
home?
A: Only when we have company.
And can these true entertainers be
truly entertained?
Q: (of Mrs. Alan King) Does Alan
enjoy your sense of humor?
A: He never laughs at anything I
say. He doesn't think I'm even capable
of saying anything amusing.
And what kind of entertainment en-
tertains them?
Q: (of Mrs. Marx) Does Groucho
guffaw at other comics?
A: I've never ever heard Grouch
laugh out loud.
Q: What kind of TV shows does he
watch?
A: Except for comedy specials or his
friends like Jack Benny, he prefers
shows like "Meet the Press," "Open
End," "College Bowl."
A big question is: Are comedians
easier to live with before or after they
make it big? Which is tougher, the
frustrations and fears of failure or the
anxieties and fears of success? When
Danny Thomas was struggling and in-
tent on working or looking for work
or making contacts or perfecting mate-
rial, Rosemarie never saw him. She
used to pray nightly he'd make it soon
so they'd have more time together.
Now he's so busy keeping abreast of
millions, they have even less time alone.
Most professionals who are "very
amusing persons" have several mutual
qualities. One is insomnia. "Grouch
has insomnia constantly," declares
Eden. "He's tried everything from pills
to showering in the middle of the night
to an electric vibrator chair. Sometimes
I stay up with him. Or try to, anyway.
I even taught him Yoga, but nothing
helps.
"Getting laughs is more nerve-wrack-
ing than other businesses. Grouch goes
through all the moods. When he's really
hurt, he doesn't show it. He shrugs it
off with a quip. He's either very happy
or very cool. Nothing halfway. That's
when the good wife comes in. If I'm
in the mood, I jolly him out of it. If
not, I just keep quiet. We argue very
little because I've learned to give in
more. What else can you do?"
And another thing, they're worriers.
It's been said of Bert Lahr that he's
not worrying about today because he's
still worrying about what happened
twenty years ago! The comedian's wife
is often considered "the villain" be-
cause, as the buffer between her hus-
band and the outside world, she tries
to preserve him.
"Danny comes home so exhausted
he's barely able to eat," complains
Rosemarie Thomas. "He worries about
everything and I worry about him.
When I see he's neither gay nor amus-
ing anymore, I lure him off for a week-
end. We drive down to the desert so
Danny can play a few rounds of golf
and relax and be my happy husband
again." She loyally insists his bad
moods are few and far between, but.
sighs Mr. Thomas, "If I were married
to a person with my particular tem-
perament, I wouldn't be living at all
— and neither would she!"
And the wives of these highly paid,
highly amusing persons have several
mutual qualities. One is the ability to
laugh at themselves. What choice has
Mrs. Henny Youngman when he cracks :
"Take away Marilyn Monroe's eyes,
take away her hair, take away her
mouth . . . and what have you got?
... My wife!"
What other choice has Cindy got
when Joey Adams sneers, "My wife
wears so much cold cream at night that
she keeps slipping out of bed!" (Au-
thor's Note: I'll tell you what other
choice she has. She can write this
article and see what kind of a sense
of humor he has ! ! )
And what can Jeanette King do but
get a fixed smile on her face when Alan
"ad-libs"— for the 4,000th time— "My
wife's getting so high class lately that
she forgets I knew her with her old
nose."
And Jan Murray's mother-in-law, who
lives in, giggles loudly though a bit
shrilly when her cornbreadwinner
barks, "They wouldn't take my mother-
in-law in the marines because she fights
too dirty."
See what I mean ? ? ?
SANDRA DEE
(Continued from page 41)
'Mother, come quickly, I don't know
how to put the nipple on the bottle!'
And she had to come over.
"By the time she arrived, I had the
nipple on, all right, but backwards, so
that it was too loose. The nipple was
rolling all around, and my baby was
getting a milk bath!
"But the funny part is this: My
mother came over and I said, 'Is this
the way the nipple goes?' And she said,
'Yes, I think so.' And we fed the baby
like that. You see, I wasn't a bottle-
fed baby, so how did she know how to
put a nipple on? The next day we were
sterilizing the bottle and reading the
directions, and suddenly I said, 'Mom
— the nipple's on wrong!' We were both
surprised."
She shook her head, "I don't know.
I look at our little boy now and I don't
know how I had the nerve — I'd never
diapered a baby before in my life, or
even held one in my arms. And yet I
wouldn't let the nurse near him. But
when his formula wouldn't agree with
him and he had colic for a week, I
naturally called the doctor down every
day while he was sick, but I simply
wouldn't call the nurse. I had more
nerve! When I think about it now, it
frightens me."
Sandra admitted that Bobby had been
a terrific help during that first month.
"There are some people that are born
to be fathers," she beamed. "Bobby's
one. He just loves kids — any kid. When
I brought the baby home, he used to
take over the night feedings, when he
wasn't working, and he'd even diaper
the baby. I woke up one morning ter-
ribly sleepy, and I looked and didn't
see my husband in bed. We have a
gigantic bed, you know, so I had to
sit up and look around, and all of a
sudden I saw him sleeping with the
baby in his arm and the bottle in the
baby's mouth. He is drinking his milk,
and my husband's sleeping.
For laughing out loud
"You know, the baby looks so much
like Bobby. There is nothing of me in
the baby at all. In his face, in his hair,
in his build, he's a miniature Bobby.
In fact, I sit in the audience at night
during Bobby's show, and I'll start to
laugh hysterically sometimes. And no-
body knows why. They all know who
I am, and they look and wonder what's
Shakespeare said it: "Laugh and the
world laughs with you." The comedian
laughs because he's getting paid to
squawk publicly what he wouldn't have
the nerve to squeak privately. The audi-
ence laughs because for the first time
somebody's saying what they're think-
ing. And the comedian's wife laughs
because she figures, "Nuts to all of
you. I'm going to the furrier tomorrow."
— The End
so funny. I mean, he'll be doing a
ballad, and I can look at Bobby and
see the little baby's expressions on his
face. And I sit at the table laughing
all through 'I'm a Fool to Want You.'
"At first, I didn't want the nurse at
all. I was afraid the baby wouldn't
know its mother if somebody else took
care of it. But now I realize how really
lucky I am. Because now, when I take
that baby, it's only because I want to.
It's a real pleasure — it's not a job any-
more. By the end of that first month,
I was taking care of him alone, when
he'd wake up crying for his bottle, I
couldn't wait to give it to him and have
him go back to sleep, because I was
so tired. I wasn't seeing enough of
Bobby, either. The minute he'd come
home from work, the baby would start
to cry for his bottle, and Bobby would
have to eat dinner alone while I fed
the baby. Now I want to see the baby
awake, and I want to play with it.
"On the other hand," Sandra added,
"if I hadn't taken care of the baby
by myself that first month, I wouldn't
have the self-confidence to turn it over
to the nurse now. Because if I felt I
couldn't take care of the baby as well
as the nurse. I wouldn't feel happy.
"As it is, I've gone through sickness
with the little baby, and I've taken
care of it myself, and now you should
see me carry him! I'm so casual I
carry him slung over my shoulder!
The movie-star mother
"You should have seen the sight the
other day. I was doing fittings for my
new picture, 'If a Man Answers,' and
I had to go to Jean Louis' for them.
Well, in this picture, I have thirty-two
of the most gorgeous outfits you ever
saw. Ostrich feather dresses and mink
lined coats, and one dress is solid gold
— well, all gold beads. Anyway, I'm
standing there with the four fitters and
Jean Louis, and I'm in this beautiful
dress and they're pinning me up, and
on the couch is my son. He's lying there
with his bottle.
"So there's the movie star, getting
herself fitted and pinned up and all,
and all of a sudden you hear me shout:
'Hold it, folks! The baby's bottle fell
out!' And I run over to the couch and
put the bottle back in his mouth. Then
the fitting continues.
"The baby's going to come to the
studio with me, every day," she said
determinedly. "I have a dressing room
bungalow with four rooms, and I'm go-
ing to have them bring him in every day
about noon. And he'll stay with me the
rest of the afternoon. I have a little
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—L
porch, and I'll put him out on the porch
in the sun when I have to work, and the
nurse will be there with him. Then I
can see him all the time between scenes.
He's a very good baby and I know it'll
work out fine."
The baby has already attended his
father's rehearsals. "You see, he loves
music!" she said proudly. "He's crazy
about it. The day we brought him home
from the hospital, whenever he'd start
to cry, Bobby would play the guitar for
him and he'd stop immediately. So
when the band would come over to the
house to rehearse with Bobby, I'd wheel
the baby into the rehearsal room to
listen. When the band was playing, my
boy would sleep. But the minute the
band stopped, he'd start to cry until
the music came on again.
"In fact, now he lies in his crib and
listens to a little radio of his own —
it's shaped like a baseball. At night we
hang it up in the crib and he listens
to it for hours. Why, he even knows the
Top Ten! He can tell his father which
is going to be a hit and which will be
a miss. When he starts to cry, that
record is out.
"But he's not impressed by his
father's records— I tell you!" she
laughed. "So far, his favorite record
has been 'The Lion Sleeps Tonight.'
When the high part comes on, he starts
to smile. The doctor saw him and didn't
believe it!
"When he grows up, I'd like him to
go to military school," Sandra went on
with a smile, "because the uniform's
so cute. But Bobby says, 'The boy is
going to a public school, and he's going
to play in the street like every other
boy, and he's going to get hit on the
fanny.' I keep saying, 'Military school,'
and Bobby keeps saying, 'Public!'
"And then Bobby says, 'I grew up in
a public school, and I didn't do so bad ! '
And I say, 'But / grew up in a private
school, and I didn't do so bad, either!'
But, you know, I think his father's going
to win out."
Would Sandra object if Dodd wanted
to go into show business?
"No," she said firmly. "I'm happy in
it and Bobby's happy in it, and if this
is going to make the baby happy, fine.
You know, there's nothing about this
business that I regret. It's not done any-
thing to me that I'm ashamed of, or
that I wouldn't want the baby to know.
It's brought me nothing but happiness
so far — knock wood!" And she rapped
on the table. — Chris Alexander
TOMMY SANDS
(Continued from page 45)
coaches in the country are always lo-
cated.
"I also didn't believe in sitting in
Hollywood and waiting for the next
role to come along. I felt I should spend
my time working with a top coach,
studying and evaluating scenes. And I
knew it might be six or seven months
between jobs. So I told Nancy we had
to move to New York.
"That came as quite a shock to her.
It meant a complete change in her life.
She would not only have to leave her
family for the first time — and she's
very close to both her mother and fa-
ther, even though they're divorced — but
she would have to get used to living
in a little flat like this one, with just
a bedroom, living room, kitchen and
bath. And you know she was raised in
a huge house."
Tommy jumped up to help Nancy
bring in the big tray of coffee and
cake. Then when they were both set-
tled, side by side on the couch, he went
on.
"She just told me that, if it was im-
portant and necessary to my career and
to our future, that's what we would do.
"She made the change, just as she
made all the other adjustments a young
girl must resign herself to when she
leaves her parents' home and goes off
to make a home of her own with the
man she marries. Changes like not be-
ing able to buy a drawerful of cash-
mere sweaters or a new dress for each
party, like checking the prices on the
menu at restaurants and planning and
hoping for two, instead of one.
"When we got here and discovered
that it would cost a fortune to get a
large apartment, Nancy decided it
would be foolish for us to go into our
savings to keep it up. We found living
costs in New York are quite high. So
T we scouted around for this smaller
V place. It's nice, it's clean and real live-
it able, now that we've fixed it up. And
the best thing is that, with a limited
income while I'm studying, we don't
86
have to dip into our savings to meet
the budget."
Nancy interrupted. "Honey, don't
give the impression that I got into the
swing of things right off the bat.
"It wasn't easy, as you can under-
stand. Those first few weeks were quite
difficult. I was lonesome for California,
for home, for my family, and it gave
me a pretty bad feeling of depression
more often than I cared to admit to
Tommy.
"But he was so good about it. He
knew what I was going through and
he never got mad at me. He helped
me get used to this new life in the same
calm, efficient way he adjusted to mar-
riage and helped me to adjust to it.
"For instance, Tommy has always
been used to having dinner ready when
he comes home at night from work. But
I was always used to a relaxing sort-of-
social period before dinner. So, when
we were first married, I was in no hurry
to fix dinner.
"Of course, one of us had to change
our habits. Tommy didn't get mad about
it and yell at me over it. He just told
me that he was good and hungry by
the time he got home from a day's work
and that he wanted to eat before doing
anything else. So that's the way it is.
And I don't mind. I didn't even con-
sider it 'giving in.' This is the way it
has to be for the man of the house —
so that's the way I want it.
"You know, he has a slogan that
says: 'Marriage is composed of ninety-
percent give on both sides.' This has
done wonders in giving our marriage
a solid foundation. It enables us to sur-
vive the usual misunderstandings and
overcome the crises that seem to crop
up even in the most perfect marriages.
A bride becomes a wife
"We try to avoid making an issue
of little things. We believe that there
are enough big things in business and
in life to worry about that you shouldn't
bother getting concerned with the little
ones.
"Consequently, he doesn't holler at
me when I leave the top off my lipstick
on the dresser. I know it annoys him
and I try not to do it, but sometimes
I forget. When I do, he never men-
tions it.
"I guess he's learned how to be a
husband, just like I've learned to be
a wife. It's a new experience. Every
bride must learn how to live with some-
one else, just as she has to learn how
to cook. She should learn to under-
stand her mate's moods, when to en-
courage, when to sympathize, when to
respect his privacy."
"And when not to interrupt," said
Tommy, interrupting, with a grin. "But
since you interrupted me, I guess it's
okay if I interrupt you on the same
subject. Okay?"
Nancy grinned back. "Okay, boss,"
she approved.
A husband's tribute
"One thing Nancy was very good at
was recognizing immediately that a
married couple must live for two in-
stead of living for one. That's her na-
ture. She's always been a warm, con-
siderate, thoughtful person, which is
one of the reasons I was so very strong-
ly attracted to her, the more I knew
her.
"But she is always thinking of my
feelings and trying to understand me.
When she makes decisions, it's on the
basis of what I might like. For example,
if we were still single and not going
together, we could always readily give
a yes or no answer without second
thought. But now, when someone asks
one of us if we'd like to go to a party
or a movie or to an opening or out
for any sort of evening at all, we try
to think of whether the other is feel-
ing well and whether it's something
the other one wants or likes to do. That
way, we don't put the blame on each
other's shoulders for refusing, and we
don't make each other responsible for
these decisions.
"You ask if there are problems in-
volved in marrying a rich girl.
"Sure, there are. Every marriage cre-
ates problems. But intelligent, sensible
people realize it and attempt to do
something about solving their problems.
"Nancy, like all wives, is a prob-
lem. But I love my problem." i
— Mary Baldwin
VINCENT EDWARDS
(Continued from page 38)
times I managed to steal the spotlight
from the two giants in my TV life.
Then, in another segment, when Cliff
Robertson died so beautifully, I again
broke down and cried. The result was
a protest from the American Medical
Association. It seems doctors, female
or otherwise, do not get so emotionally
involved with their patients. When Sam
heard about this, he chuckled, "Maybe
next time you won't get so smart, young
lady." And Vince, taking up his line,
added: "Our phone call to the A.M.A.
sure got action, Sam . . ."
But, honestly, I do love the part of
Maggie, the anesthesiologist. And so
far — knock wood — I've had no big
problems portraying her. She's uncom-
plicated, really ... an intelligent, sym-
pathetic person, competent as a pro-
fessional but feminine to the core. Most
of all, I like the subtle relationship
that hovers between her and Dr. Casey.
There is a hint of something more
than affection, a trace of romance like
faint perfume in the air . . . and yet
it never intrudes on their friendly, medi-
cal cooperation and their ardent dedi-
cation to the saving of lives. Always,
without preaching, a delicate message
is put forth to the effect that, however
they may secretly feel toward each
other, it's all sublimated to the de-
mands of their profession.
Both Sam and Vince are from New
York. Their backgrounds are alike,
Vince hailing from the Brownsville sec-
tion of Brooklyn and Sam from Man-
hattan's East Side. Both their families
were hard-pressed in making ends meet.
Both worked their way through school
and both had — and still have — an
urgent desire for education. Though
they lean toward "good art" and "long-
hair music," they both have a lighter
side. Their imitations are hilarious.
Vince's mimicry of Dr. Zorba is price-
less, topped only by Sam's retaliation
as the uncompromising, unconvention-
al Ben Casey.
Sam and Vince are also alike in be-
ing very masculine men, strong-willed,
serious in work, idealistic in their de-
fense of the underdog, and in their
frank and generous attitudes. I have
said they love music. Vince recently
proved, on "The Dinah Shore Show,"
what a terrific singer he is. Sam once
considered becoming a concert pianist.
He has composed a number of works
in the classical form. All this has helped
foster their friendship.
They have another trait in common.
I'm afraid both are easy marks for a
touch, and are sometimes taken ad-
vantage of. Since his success on "Ben
Casey," Vince has naturally been ap-
proached for help by pals of the old
tough days. And, in his generous way,
he has tried to steer these struggling
actors to jobs and has often made sub-
stantial loans. Sam — who has suffered
some unfortunate experiences with mak-
ing loans of this kind — warned Vince
to hand out money with discretion, lest
he lose rather than hold such friends.
Shortly after, an old acquaintance
came by and asked Vince for a loan.
Still mulling over Sam's warning, Vince
decided to cut his loan to the mini-
mum and gave the man a ten. So what
happened? In a huff, the man ap-
proached Sam and sang his song of
woe. Sam's heart was promptly touched
and it ended with him giving a sizable
loan. Whereupon we heard a Zorba-
type roar from Vince: "So! So, doctor,
this you call medical ethics — to make
a diagnosis of my condition, and then
practice the exact opposite? Such a
shnook!" For once, Sam had nothing
to answer. He shrugged and looked
like the kid with his hand caught in
the cookie jar.
My own background is quite far
removed from these two New Yorkers.
I was born in Cottageville, South Caro-
lina, on February 28th — and I was a
"Leap Year" baby. After I fell in love
with Sam, I often toyed with the notion
of using my "leaping" privilege to pro-
pose. But I was saved that embarrass-
ment. Sam beat me to it, and I accepted
with alacrity.
Afterward, I confessed to Sam that
he'd come close to being proposed to,
and his answer startled me. "It's a
good thing you didn't," he said, his
hair ruffling. "It might have been the
end." Knowing him now as well as I
do, I realize this is the simple fact.
Sam's gentle and tolerant and wise as
a man can be, but he is no one to be
pressured into things. Not even by the
woman he loves.
My early life, I suppose, was real
"small-towny." I went to Columbia Col-
lege in South Carolina, where I studied
drama with Mary Lou Kramer, then
I switched to Columbia University in
New York, where I studied pantomime
and dance with Louise Gifford. Drama
and dancing were my passions and I
continued studying Spanish dancing
with Carola Goya, and drama with
Alexander Kirkland at the Theater
Wing and in the studios of Stella Adler
and Herbert Berghof.
After five seasons of summer stock
(I once toured with the Clare Tree
Major Players as the Wicked Queen
in "Snow White" ) , and some commer-
cials on radio and TV, I was able to
afford doing off-Broadway plays, one
of which was Moliere's "Tartuffe" —
which starred none other than Sam
Jaffe.
Sam is an accomplished mathema-
tician, musician, actor, linguist — he is
fluent in German, Italian, French, He-
brew and English, and is currently
studying Japanese — and, on the whole,
an informed and cultured man . . .
but when I looked at him in those days,
all I could see, alas, was Gunga Dinl
It was the one film I had seen him
in, up to then, and I thought he was
not only a masterly performer but the
cutest thing in that little didie. (What
am I saying? Now I will get the Dr.
Zorba routine from Sam when he reads
this!)
Anyhow, six months later, I became
Mrs. Jaffe and the Jaffes got married
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of "The Lark," starring Julie Harris.
Our "working honeymoon" took us
around the world and lasted three won-
derful years.
It is now six years, come June, that ,
we are man and wife. The other day,
Vince asked how we met. With a
straight face, Sam said, "In a health-
food shop." The fact is, Sam's a vege-
tarian down to the last shred of spin-
ach. I, Bettye Ackerman Jaffe, wish to
make a point here. I am not a devout
vegetarian, I'm merely a "non-meat-
arian," which is purely an emotional
carry-over from childhood.
Sam summed it up for Groucho
Marx when we were at the same table
at a party. Groucho raised those famous
eyebrows when he saw me filling my
plate with greens and passing up the
meat platter. "She won't eat anything
she could pet," Sam explained. Groucho
leaned over and whispered with his
hungriest leer, "Well, chicken, I could
eat you!"
I haven't eaten meat since I was eight
and my pet duck, "Waddle," disap-
peared. At dinner, I stared in frozen
horror at the dish my mother was serv-
ing. I screamed, "Waddle!" — and ran
to my room in tears. My brother did the
same. To this day, my poor mother
apologizes for having cooked Waddle.
She hadn't realized that we'd been mak-
ing a pet of the duck while she was
fattening him for the kill.
During our courtship, Sam and I
took a walk through Central Park. A
duck swam by on the lagoon and I
gasped, "He's just like my darling
Waddle." Sam gave a snort of disgust,
"That's not a duck — it's a drake. I can
see," he snapped, "that you don't eat
meat, out of a sentimental error." I
argued, "It makes no difference." His
retort was: "It makes a lot of differ-
ence to the drake."
But for all his "reasons" of health
and moral principles, Sam's real reason
for not eating meat is as sentimental
as mine. It began when he first saw
a calf butchered on a farm where he.
a kid from New York's East Side, was
working the summer. (All this vege-
tarian talk will probably come as a
surprise to some of our dinner guests.
We usually serve them meat or fowl.)
Let me say here that I did not, as
some people imagine, get my part in
the series through my husband's inter-
vention. It was completely accidental.
I had just finished my first movie, "Face
of Fire," and was at loose ends. I ac-
companied Sam to a costume fitting for
the pilot of this new series about doc-
tors in a great metropolitan hospital.
As I sat waiting for my spouse, the
director, Fielder Cook, passed through,
did a "take" and came up to me. He
said, "You look like Maggie Graham,
the woman doctor in our series — how
about reading for our producer, Jim
Moser?"
I was in dungarees, totally unpre-
pared, and felt uneasy. "Another time,"
I suggested. But Cook insisted. And,
all at once, there stood Sam, backing
him up. I did the reading and that's
how I got to be Dr. Maggie Graham.
If I'd known the role would stack
me up against the formidable person-
alities and dramatic talents of both
Sam Jaffe and Vince Edwards, I might
have thought much longer about try-
ing for the part!
Many fans don't realize I'm Mrs.
Sam Jaffe in real life and think I'm
in love with Vince Edwards. This is
because they tend to mix Maggie Gra-
ham and Ben Casey up with the people
who play these parts. Sam and I have
had many a laugh over this error. We
see it as part of the illusion we have
been trying to create.
But my mother, bless her heart, gets
quite snippy if she hears anyone won-
der what gives with the lady doctor
and Ben Casey, behind the scenes. She
loses no time in explaining that her
daughter is a loyal and devoted wife
and not in the least interested in Vince
Edwards except as a friend and co-
worker.
One recent letter gave me a thrill.
A girl who'd been watching me on the
show had decided to enter the medical
profession. "I want to be an anesthesi-
ologist like Dr. Maggie," she wrote, and
very kindly added, "and I'd like to be
that fine a human being." As an ac-
tress, I'm flattered that she was influ-
enced by the character I portray.
I have mentioned several qualities
Sam and Vince share. I'd like to offer
an example in which they are radically
different. Sam doesn't drive and has no
desire to. Vince is madly infatuated
with his new sleek black Continental. He
feels about it much as I did about poor
Waddle — it's his pet. Once when Benny
Goldberg, a stand-in on the show who
works for Vince personally, brought
the wrong car back from the "wash-
eteria," Vince acted as I did when I
saw Waddle served up for dinner!
But when Benny returned with the
right car, Vince laughed, jigged, and
even patted the hood of the car as if
it were a horse in the winning circle
and he were jockey Shoemaker. Sam's
comment was: "A good thing to see. If
he takes that good care of his posses-
sions, now that he can afford them, he
won't waste his success. He'll probably
take as good care of his home, his wife
when he gets married, and his children
when be has them."
Sam and I are extremly happy in our
work. We're happy to be the sort of
people who enjoy life, nature and
people and who like to make our small
contributions to enrich the lives of
others. From what I've seen of him, I
believe Vince is cut of the same cloth.
At the moment, it is difficult for him to
achieve the tranquil pleasures that Sam
and I glory in. Someone recently said
to Sam, "Your boy, Vince, is all nerves.
Is he trying to play the angry young
man in real life, too?"
Sam looked this man squarely in the
eye and said quietly, "Have you any
conception of what it means to learn
the equivalent of three-fifths of a Broad-
way play every single week? That's
what Vince has to do, to carry the
burden of this show. Just picture the
strain on him. Why, there isn't an actor
alive who could keep on doing this and
not show the tension."
Sam is right, of course. Absolutely.
Vince is in three-fifths of each segment
oi the series. It s a wonder he hasn t
lost all his sense of humor. He has a
very keen one, I can testify to that!
I recall the day we were doing our
first episode. A woman tourist, who was
visiting the set, rushed up to Ray
Joyer, Vince's stand-in. She fussed over
him, calling him "Vince Casey" one
second and "Dr. Edwards" the next.
Ray was helpless. She wouldn't give
him a chance to explain that the gent,
standing beside him, grinning broadly
and saying nothing, was the star of
"Ben Casey." After she had gone, Ray
exploded, "Why didn't you tell her who
you were?" Vince laughed, "She was
happy with you, wasn't she? That's all
that counts." And to this day, weighed
down as he is with so many responsi-
bilities, Vince has retained that large
tolerance and the ability to smile chari-
ALFRED HITCHCOCK
(Continued from page 57)
the glamour — and the tourist trade —
back to her kingdom.
It was all very intriguing and the
rumors grew louder and louder — so
loud, in fact, that hardly anyone heard
when a short, rotund man said quietly:
"I just asked her . . . and she said yes."
The man was Alfred Hitchcock, and for
him it's that simple. It always had been.
It's easy for him to make a woman say
"yes." You see, he has a way with them.
Alfred Hitchcock first saw Grace
Kelly in a test for a picture called
"Taxi," at 20th Century-Fox. The test
was not successful, Grace did not get
the job. When she finally did get a
picture, "Mogombo" at MGM, it
showed her as a stiff school-marm
creature with ice water in every vein.
But in the "Taxi" test, Hitchcock had
seen beneath that frozen exterior the
promise of warmth, strength, sexual
power and the ability to convey it all
on screen. He snapped up Grace for
"Dial M for Murder." It was an excit-
ing performance. So was hers in "Rear
Window."
And after all that, after proof on the
screen that Grace Kelly could be an
exciting, provocative actress, she went
back to her home lot and might have,
by a narrow margin, missed her destiny,
might never have become the Princess
of Monaco. Her screen career hung in
the balance while they put her into a
languid "B" picture called "Green
Fire," in which she was the frigid lady.
But Hitchcock snared her again for "To
Catch a Thief."
To film that one, Hitchcock took her
to the Riviera and the cameras turned
in the very shadow of the palace Grace
was later to call home. During that pic-
ture, Grace met her Prince. The rest
is history, except for the secret meeting
years later in Paris. There, in a dimly-
lit bistro, Grace found that Hitchcock's
magic was still working. She couldn't
say "no" to him.
The man who defrosted Grace Kelly
may not have had as many women in
his life as some men. But his relation-
tably at the toibles oi human beings.
The other morning, I told him that
TV Radio Mirror had asked me to
write my impressions of Sam and of him.
"Any comment, doctor?" I teased.
Vince stared thoughtfully at me until I
felt he wasn't going to answer. Finally,
he said, "Bettye, don't sprinkle perfume
over me. Just tell the unvarnished,
down-to-earth truth as you see things
around here."
As Sam would say in his very best
Dr. Zorba tone, "Such a boy!" Yes, I
think Bettye Ackerman Jaffe is very
lucky to be Maggie Graham, the woman
in the lives of Dr. Zorba and Dr. Ben
Casey. And, cross my heart, that is the
truth as I see it. — Bettye Ackerman
They're all doctors on "Ben Casey,"
on ABC-TV, Mon., 10 to 11 p.m., edt.
ships have been long-lasting. As a
matter of fact, once a woman gets in-
volved with Hitchcock, she's rarely ever
the same again.
His wife Alma, for example, was a
film cutter when Hitchcock met her,
and not in the least domestic. During
the years of their marriage, she has
worked with him as a writer, as assist-
ant director — and also become a
mother, a gifted homemaker and a
superb cook. But she still looks cool
and blonde.
"I've been accused," he says, "of
always choosing this same cool blonde
type as the heroine of my movies and
perhaps that's true. My taste is based
on English women, outwardly cold, in-
wardly passionate — probably the most
promiscuous of all. The trouble is, most
Englishmen don't appreciate them.
These lovely creatures are the product
of their climate; Scandinavian women,
from a similar climate, are similar
emotionally — Bergman the apple-
cheeked, but what seeds inside the
apple! The type is most photogenic,
most intriguing, and gives me the op-
portunity of presenting a woman subtly
and slowly to the public — not just
putting it all on a platter. Look at the
charm of the Victorian woman — but-
toned up to the neck, the corseted
torso — yet all that barricade had to
come off sometime, you know. Consider
the size of the Victorian family!"
Madeleine Carroll . . . Grace Kelly
. . . Joan Fontaine . . . Eva Marie
Saint . . . Kim Novak . . . Vera Miles.
To Hitchcock goes the credit for bring-
ing these actresses to life. Strangely
enough, he insists, it has nothing to
do with teaching them to act. It's been
rather a matter of giving them self-
confidence. Though talented and lovely,
they need the whispered word, a feel-
ing of ease . . . like the words that
changed Madeleine Carroll into the
radiant creature of "The Thirty-Nine
Steps." This picture was made at
Gaumont British and the powers-that-
be called Mr. Hitchcock in. Madeleine
had only one picture to make under
her contract and would he please use
her for "The Thirty-Nine Steps."
Hitchcock remonstrated, he felt the
pretty blonde something of a stick, but
they pressured him and there was
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nothing to do but use Madeleine. Sud-
denly, it occurred to him that, off the
screen, she really might have a sense
of humor.
"Madeleine," he said, "let some of
your own personality come through.
Relax! After all, this is only a movie."
That broke her up. He's used the
line ever since. Most actresses are
terrified of this director at first. They
think him formidable and forbidding.
Then they discover that he's really not
fierce and they begin to find his dead-
pan and calm rather soothing.
Before his pictures start shooting,
every minute detail of production has
been worked out, from the angle of
each camera to the placing of a pair
of gloves on a table. When the day
comes to shoot, the major work has
been done. All is order, precision.
There is absolute quiet on the set, an
aura of calm; an actress has the ease
of simply playing her part.
On one occasion an actress, a top
star, went off the deep end, raving and
ranting about Hitchcock's direction.
She was playing her anger to a room
full of people, though, of course, the
tirade was aimed at Hitchcock. What
did he do? He quietly slipped out the
door. Twenty minutes later, she dis-
covered he was gone.
"That's the trouble with him,"
stormed the star. "He won't fight."
She's quite right. When they re-
sumed work the next day, everything
went smoothly enough, but that actress
probably wonders why the great direc-
tor has never suggested she work with
him again. The answer is that he
doesn't like trouble. He likes simplicity,
directness and honesty. He likes foreign
actresses because, as a rule, they're
more candid. American girls are very
likely to put on the trappings of sex,
the plunging necklines, the sweaters
— but let a man put his hand on her
shoulder, she'll run screaming to
mother. They ogle men, they play at
sex, but they're terrified. Not all
American girls. . . . There is Grace
Kelly.
"Make no mistake about this," the
director says. "Ninety percent of the
box office is determined by women, at
least in this country. Women decide
what movie they and their male escorts
will see. Women stars are made by
women and one of the reasons for poor
movie attendance, I feel, has been the
downbeat picture. From sink to sink,
I call them.
"My inclination is to give an audi-
ence a different world, divert them.
There's nothing new in the elements
of shock and horror. Why have people
from the beginning of time loved to
visit a haunted house or ride the ghost
train or visit the Chamber of Horrors?
What I add are glamorous, important
stars to the horror. You have to have
important people at the top or the
public will not worry about them. It's
as if you saw, at the next intersection,
a terrible accident. A girl has been
thrown into the street and lies there
inert. You are horrified, you feel com-
passion. But suppose you take a second
look, the girl is not just Jane Doakes,
she's Doris Day?"
A star, he feels, must be surrounded
by glamour. During "North by North-
west," he watched over every hair on
Eva Marie Saint's lovely head. Eva is
sensitive; like most actresses, she wor-
ries about her appearance. Up until this
picture she had always appeared on
the screen as a sort of shy girl-next-
door, someone's sister, a serious, wor*
ried character. But Eva in life is bright,
lively, witty and sophisticated. This is
what he wanted to get on screen.
"Perhaps you think of all actresses
as exhibitionists," he says. "They are,
to an extent. But they are also embar-
rassed and sometimes tortured by the
exhibit. What I help them achieve is
a degree of objectivity. We sit in the
projection room watching the rushes
and I reassure them. 'That's not you,
it's a shadow. See the mistakes and
correct them. This is something you
can't do on a stage, but you can in a
movie. You can do what you want,
there's always the cutting room floor.'
Actresses are apt to take themselves
too seriously, they're often on the de-
fensive, they're inclined to lack humor.
Above all, they worry."
Doris Day worries. In "The Man
Who Knew Too Much," she worried
because she felt she wasn't getting any
direction. Hitchcock reassured her, she
was excellent.
"What's the matter with you — it's
only a movie. For the money you get,
you should be happy." He's said this
to many actresses and they have to
laugh. He's suggested perhaps they'd
like to take up nursing as a career in-
stead. They have to laugh. Ingrid Berg-
man is a worrier but she has a good
sense of humor. Janet Leigh worries
but she is an eager and apt pupil.
Kim Novak gave a great deal to
"Vertigo," once she had been lulled
into a sense of confidence. She played
a double role, and was particularly
good as the girl from Kansas. She
temporarily dropped her self-conscious-
ness and let her self emerge into the
girl. Joan Fontaine was able to achieve
a real triumph in "Rebecca." She had
existed before then but had received
no real recognition — until Hitchcock.
A woman may be strong and inde-
pendent but Mr. Hitchcock says he's
never met the woman who doesn't need
a masculine arm to lean on. A woman
needs to lean a little and a man must
rise to the occasion. "In our household,
for example, when Alma and I are
sitting in the kitchen at night, having
just relished one of her superb dinners,
I cannot under any circumstances let
my wife clear up, while I sit back and
smoke a cigar. I have to be at it with
her. I have made her depend on me
through the years just as in our deep
basic companionship she has become
the other half of me. To some extent,
my knowledge of feminine psychology
has grown through my knowledge of
her."
How could Grace Kelly resist? Even
if she finally can't make that picture
for Hitch — this Princess business being
what it is — she simply couldn't say
"no" when this understanding man
first asked her! — June Morfield
TV-wise. "Alfred Hitchcock Presents"
is on NBC, Tues., 8:30 p.m. edt.
ROGER SMITH
(Continued from page 53)
ptomaine. The next day, not to be left
out of things, Roger collapsed on the
set of "77 Sunset Strip" and was carted
home in an ambulance with a roaring
fever. It was a toss-up to prove who was
the more ill that night, Roger or Vici.
And, all that night long, the thermostat
jumped up and down and the Smiths
alternately roasted and froze.
The next morning, Roger called a
meeting of the clan — or clans. Vici was
the one about to have a baby, he said;
she had to come first. From here on
out, it was hands off the thermostat. He
closed the vents in the Elphicks' room,
left their windows open and their door
shut. He piled an electric blanket and
two extra wool blankets on his mother's
bed. Then he went back to bed himself.
And all was well; Well, almost . . .
the pilot on the furnace kept blowing
out.
"If you ever invite your relatives to
visit," Roger says, using the polite term
for invaders, "just be sure they have a
sense of humor — and that you have one,
too. Every time I wanted my car, it
was missing, my kid brother had it. We
spent a lot of time with the kids, enroll-
ing my brother Craig in Birmingham
High (he's seventeen) and enrolling
Vici's sister Frances at Lanai Junior
High (she's fifteen). And do you sup-
pose either one of them liked their
schools or were happy? Heck, no.
Frances had never had boys in her
class and there were boys. Craig had
left his friends behind in Nogales and
he still hasn't adjusted to the loss of
our father. He's finally begun to like
school better because he's met a few
cute girls."
Life on an assembly-line
Luckily, at the Smiths, the senses of
humor were in operation. So were the
appetites. The kitchen took on the
aspects of an assembly-line operation.
Say it was sandwich time on Sunday.
They'd break open two-and-a-half or
three loaves of bread on the kitchen
counter . . . Vici's sister Frances spread
the butter . . . Vici's mom spread
mayonnaise . . . Mrs. Smith'd come by
with slices of ham, cheese and pickle
. . . Roger'd add lettuce . . . and Craig
would flip on the top of the sandwiches
— which his mother sliced in two. Roger
bought a capacious freezer, seventeen
loaves of bread a week, and he took to
shopping every other day.
The little house hummed like a hive.
Roger and his father-in-law worked to-
gether sawing and hammering at the
new room . . . Mrs. Elphick did the
cooking . . . Mrs. Smith was watching
over the children, Jody and Tracey . . .
Frances helped her mother with the
cooking, and they all helped keep the
house clean (so did the day worker) . . .
Craig helped with the gardening . . .
Mr. Elphick put a lock on the medicine
cabinet so the children can never in-
vade that, washed cars and repaired
everything . . . Roger made a thousand
decisions a day for everyone, shopped
for groceries and helped with home-
work . . . and Vici — in bed a good deal
of the time — supervised everything like
a little queen bee.
There were four meals a day (three
plus tea) and a constant clicking of
cameras over the weekends. Roger
wanted movies of everything so they'll
have all their memories on film. And, of
course, plans for the baby.
"A boy," Roger said — he wanted a
son for Jody to play with. Vici and
Tracey have girl-times together but he
felt Jody needed a playmate and he
was looking forward to two sons.
"A girl," Vicki said — and all the rela-
tives agreed with her.
But girl or boy, Vici was determined
to have that baby before her dad had
to return home. Fifteen days before the
expected date, she told Roger that the
time had come and insisted on going
to the hospital. He was just as eager
as she, but he didn't believe for one
moment . . . and her mother said . . .
and his mother said. . . . And when they
got to the hospital, the doctor and
nurses said, "False labor." But the
very next day, determined little Vici
had her baby — a boy — and two days
later, she talked the hospital into letting
her dad put on a cap and gown and
hold the baby. Grandfather and father
agreed that this was the most beautiful
child they'd ever seen. "We were abso-
lutely dumbfounded to hear another
dad say the same thing about his."
A few days later, Roger brought his
wife and child home from the hospital.
They had named the new child Dallas,
after Roger's father, who died this year.
"I couldn't help thinking," Roger
said, "that just twenty-nine years ago,
in this same city, a man named Dallas
Smith was bringing a baby Roger home
from the hospital. And now, twenty-
nine years later, that man Roger was
bringing home a new Dallas Smith."
They'd asked for it!
So, even when Vici's dad had left for
home, they still had a house of nine!
And then Vici's brother and sister-in-
law arrived. Roger got his mother and
Craig an apartment three minutes away
from the house and they are still nine.
Of course, make no mistake about
this: Roger and Vici had asked for it.
They'd planned on this visit for five
years, ever since they were married.
Roger had promised Vici then that, as
soon as they could, he wanted her
family to come for a good long visit.
Of course, what he couldn't have
known was that his father would die
this year and that, at just the same
time, he'd be wanting to bring his
mother and brother here, too.
What happens when all your in-laws
move in on you?
Well, it goes like this . . .
One night Roger came home from the
studio after a hectic day. But on the
way home, he'd thought up a wonder-
ful idea for a new episode for the show.
He could hardly wait to tell Jeanette
— he's taken to calling Vici "Jeanette,"
as her family does; it suits her. He
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dashed into the house and went straight
to the bedroom. Vici, her hair tied up
in pink ribbons, looked like a little
girl as she lifted her face to his. Then
he started telling her about his idea:
"Listen to this, Jeanette, tell me what
you think . . ."
At that minute, Tracey rushed in
and threw herself on Daddy — she had
a new doll, he had to see the new doll.
Roger picked her up and gave her his
attention. A minute later, in came Jody.
"You can tell me about the idea
later, darling," Vici said, smiling up at
him. So he sat down and played with
the kids until his mother came to get
them for dinner. More boiled beef.
"Hey, you know, I'm getting to like
it," Roger told his mother-in-law.
After dinner, he went back to tuck
Vici in bed again and maybe now they
could have a minute or two alone. He'd
just settled himself across the foot of
the bed and was getting into the excit-
ing part of his story when Craig popped
in.
"Hey, Rog, there's a test tomorrow
in driver's science!"
"Just a minute, Craig."
"Okay, so I'll flunk the test!"
So off he went with Craig.
And after that it was Frances with
American history, and his father-in-law,
who was having trouble making change
in foreign currency, and the drug-store
delivery boy was at the door.
"The drug-store delivery boy was
always at our door," laughs Roger.
"As a matter of fact, the drug store
ran a shuttle service to our house.
They're now adding a new wing to the
DAVID NELSON
(Continued from page 42)
but you're pushing your luck if you
think this gimmick will always work!
Before our marriage, I lived in sort
of an eagle's nest high in the Holly-
wood hills. June had furnished up her
own apartment. Naturally, we both
loved our individual possessions, and
naturally, combining two households
under one roof provoked a challenge.
Both of us thought we had good taste
— but it was in different areas. I like
wood paneling, for example, and hea-
vier type things that are older and more
substantial. June likes things that are
decorative, comfortable and more mod-
ern. It's funny, but you just don't think
of things like this before marriage. We
had many discussions about many
things, but it never occurred to either
of us that furnishing our own home
could possibly present a problem. You
live — you learn!
Obviously, we've ended up being very
happy with the results. First, however,
there were compromises and a couple
of times when no two newly weds ever
agreed to disagree with more convic-
tion. Sometimes a husband can forget
that a wife has her likes, but still has
to please him as well as herself. June's
favorite color scheme is white and gold
and that's what we used. But white and
drug store with the Smith name in
brass over the lintel as a tribute to
our patronage."
Roger jumped up, took care of the
drug-store delivery boy, helped his
mother get the youngsters into bed,
stopped for a minute to help his
mother-in-law put things away in the
kitchen, then went back to see how
Craig was doing with his homework.
About nine-thirty, it seeemed to him
that everyone in the house was talking
at once. He stepped out in the patio
for a minute to breathe the calm, quiet
air, then went back in. His wife was
waiting, propped up on pillows, but
she was sleepy, he could tell, and so
was he.
"The idea'll wait until tomorrow,
honey," he said.
But so far, he hasn't told her yet . . .
he'll do it soon, when the guests have
gone and the house is quiet.
It's going to be terribly quiet at the
Smiths'. Vici and Roger are going to
turn the intercom down low and listen
to the silence, hold each other close,
talk over all the memories of her
family and his, and savor the flavor
of their own little family unit, the
miracle of their new son. Roger will
tell, at last, his idea for a new episode.
The thermostat will point to seventy-
and-a-half — no more, no less. And after
the children are asleep at night, Vici
and Roger will watch television in each
other's arms — not another sound.
— Jane Ardmore
Roger co-stars in "77 Sunset Strip,"
ABC-TV, Fridays, 9 to 10 p.m. edt.
M III IIINIIIIIUIIIIlllllltllll Mill IIIIIIIIIIIIIIIIUIIIIIIiNlillllHIIIIIlllllllllllNIIINIIIIIIIIIIIIIIIItllllllllllllllltlllrl
gold aren't my favorite colors, so June
added other colors which I know she
could live without. On the other hand,
if we had done what I like completely,
then I wouldn't have been happy know-
ing June wasn't happy. See what I
mean?
In our rented home high up in the
Outpost Estates, we have a closet in a
dining room that was never meant to
be a dining room. This sort of bugged
us, but we couldn't agree on how to
remedy the situation. Finally, we both
went for the idea of turning the dining
room-not-meant-to-be-a-dining-room in-
to a more informal dining area. Con-
verting that closet into a bar seemed
to make sense and so I began building
in storage cabinets and shelves. Now,
our carport is barely big enough for
two cars, so there is no room for me
and the tools I enjoy using. So I had to
do all my sawing and hammering in
the middle of the house! June is a
meticulous housekeeper and who needs
a messy husband? I worked for ten
minutes, then took off thirty minutes
to clean things up.
Speaking of closets, the big yak dur-
ing my bachelor days was listening
to my married friends complain that
their wives took up all the closet space.
So guess who ended up with a hall
closet and a small portion of one in
the den? Like every other wife, so they
tell me, June still insists she has noth-
ing to wear. Actually, learning to
live with another person can be twice
as taxing for someone like June. She's
lived by herself for many years, while
I've been accustomed to the warmth
and camaraderie of family life. There-
fore, June's adjustment has been more
difficult and I try to remember this.
Fortunately, we both have good,
healthy tempers which enable us to
let off steam when there is need. I've
trained myself to hold my temper in
when I can, but June has learned to
watch for those tell-tale signs. Like
seeing me start to get red in the face.
Nine times out of ten when we blow
up, the reason is almost too inconse-
quential to mention. So we flip — but
sometimes, when I start to laugh, that
spoils all the fun of kissing and making-
up. And may I add, our system of
making-up is rather unique? We work
backward — and I highly recommend it
to all young husbands.
If June starts the argument, it ends
when she says: "Now you owe me a
present!" When I start something,
then she has to give me a present! Kind
of wild, isn't it? But that's half the fun
of being married.
Both June and I love animals, so
you'd never suspect that they t;ould
become a bone of contention (no pun
intended), now would you?
June owned a dog and parakeet be-
fore we were married. When we set-
tled down, a cat came with our lease.
Shortly after, when I went out on tour
accompanied by June, we stopped for
gas and my bride observed the station
attendant feeding a stray kitten part
of his sandwich. Don't ask me how it
happened. I just know when we drove
off, the kitten had joined our family.
Our small menagerie now sleeps on our
bed and this wouldn't be too bad if I
had built that Doggie-Door — as prom-
ised. Of course I'll get around to it
— but, in the meantime, we have to leave
a door open all night so our pets can
go out. We shiver until morning!
For many years, I've enjoyed the
habit of staying up late and sleeping
late in the morning whenever possible.
You know, my parents were in band
business, where they met, so late hours
seem natural to our family. This pat-
tern is understandably foreign to June,
who feels I'm sleeping my whole life
away if I sleep late. I guess she has a
point and I've made her a promise.
Regardless of what time I get to bed,
I'm going to get up when June does.
Luckily, we have no neighbors close
enough who'll hear me moaning and
groaning by dawn's early light.
Before my marriage, I must admit
I approached the possibility with cer-
tain misgivings. Like my father, I have
always loved athletics and participated
in practically every sport. While film-
ing "The Big Circus," I became fas-
cinated with the trapeze. Del and Babs
Graham were technical experts on the
picture, and after studying with them
I was able to appear with their aerial
troupe on numerous occasions. When
you're out on the road, you have to have
some way of carrying rigging. I bought
a flat bed truck and mounted two camp-
ers on the back for living quarters.
In thinking about marriage, I had
to ask myself: Supposing my wife
would object to this gypsy life? Al-
though the circus is not my business,
maybe a wife might consider my brief
excursions too hazardous. Perhaps mar-
riage would be too much of a drag.
The more I thought about all this, the
less enthusiastic I became. But then
I met June. What a relief when I
learned she, too, had her misgivings
about marriage. Could she conform to
a pattern way of living, she wondered.
And she, too, was afraid of losing her
independence. The answer is, so far we
have had a ball because there's never
a dull moment. Once a month at least,
we go out camping in our truck and
each trip is a new adventure. June loves
the gypsy life and puts up with many
discomforts without one little word of
complaint. She's really the greatest.
Now that I'm out of circulation, as
it were, I suppose it's natural for peo-
ple to ask me about Rick and his plans.
I've also been asked what advice I'd
give my brother. You know, things I've
learned as a bridegroom that I'd tell
Rick for his future use. He has always
been quite a bit within himself, so
we'd never have a long and serious
discussion about marriage unless he
was contemplating it. To my knowledge,
he isn't. I think he feels he has a lot
to see and do before settling down.
But one evening when he dropped
by the house unexpectedly, we did sort
of talk around the edges. Rick's of that
age where he has it all figured out.
He said casually that when he got mar-
ried, he was going to lay down the law.
Just wait until you're married — that's
what I should have answered! Accord-
ing to Rick, a husband should be very
consistent and take a stand about things
immediately. Otherwise, he said, how
can a wife learn to adjust to her hus-
band? In marriage, I pointed out there
are two people involved — not one. Two
people who must learn to adjust to each
other — and it's very difficult for each
to retain individuality and still keep
from clashing.
Maybe it was better, I suggested, for
Rick to marry someone in our business
who would understand all our daily
problems. However, if he did marry a
non-professional, there could be many
advantages, too. Being separated from
each other's problems all day might
give them greater objectivity, might cre-
ate greater understanding as a basis
for advice and guidance. Rick listened
to my little speech, but I know my
brother too well. When his turn comes,
he'll have to find out all the answers
for himself. And he will.
How often it's been said: The first
year of marriage is the toughest! Re-
cently I ran into a friend who has
been married for quite a long time. He
kidded me about being trapped by a
wedding ring. Then, as he shook hands
and said goodbye, he added: "Oh, well
— just remember it's only the first ten
years that are the hardest!" Well, I'll
say it again. With June by my side,
I'm more than willing to take my
chances. — as told to Jerry Asher
All the Nelsons can be seen in "The
Adventures of Ozzie and Harriet," on
ABC-TV, Thursdays, 7:30 p.m. edt.
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THE CLEAR HORIZON
(Continued from page 55)
Even the usual "happy ending" can
serve to give hope to viewers and
stimulate them to meet their difficulties
courageously.
On the other hand, it is unhealthy to
substitute the makebelieve world of TV
drama for everyday reality. Rarely are
real children as obedient, real women
as romantic, or real men as virile, as
those portrayed on our screen. Once
the program is over, it is time for
viewers to become disenchanted and
snap back to reality — or they are likely
to become disillusioned, frustrated and
unable to accept the circumstances of
their own lives.
Few women, for example, are mar-
ried to Astronauts or space scientists,
but all husbands must face similar
tests of courage — physically, morally or
emotionally. Captain Roy Selby and
his wife are a case in point. They exist
only on TV, as hero and heroine of
"The Clear Horizon," working side by
side in space research at Cape Canav-
eral.
They're happily married and have a
son, Ricky, who is twelve. He was born
in Morocco and has lived in Japan,
Alaska. California and New Haven.
Roy was in the Army when he first met
Anne. He was raised on a farm in the
Midwest, worked his way through col-
lege and has all but lost track of his
family. He's a natural athlete, enjoys
competition, has a great sense of duty
and likes to be by himself — reading,
listening to music, or just thinking.
Anne comes from New England,
where her folks still live in the house in
which she grew up. Her dad was a
real estate agent who painted pictures
on the side; artistic, impractical,
weaker than his wife, he drew on her
strength to survive. Anne was more
like her mother and made her way in
the business world at a young age.
Anne works parttime at the billeting
office of the air base. Roy is now an
Air Force captain, assigned to various
hazardous jobs connected with our
space research program. His life is
often in jeopardy and Anne lives, as
they say, on "the razor's edge."
These two are well-mated. Anne re-
quired a strong masculine figure, un-
like her father, for a husband. Roy re-
quired the solid family roots he missed
as a child. Anne — as well as the Army
— offered him this kind of security. The
Army — or the police force, a large cor-
poration, or any major business enter-
prise such as a supermarket chain —
gives a man a sense of belonging ; he
may find roots and a feeling of "home"
which he never knew.
Men like Roy choose hazardous work
for any number of reasons: The appeal
of the job itself, higher pay, excitement,
the admiration of others. (IF hen a man
in a dangerous job acts in a foolhardy
fashion, however, he may have been
driven to such work for neurotic
reasons and unconsciously wish to be
hurt or killed in performing his duty.
But this is clearly not Roy's reason.)
For any woman in Anne's position to
accept the uncertainty that goes with
marrying a man who's always on the
go and forever courting danger, she
must love her husband deeply and
share something of his own excitement
in undertaking risks. Anne seems to
have met this challenge in a mature,
healthy way, uncomplaining and work-
ing by his side as much as her time
allows — for she is also a mother and
must pay extra attention to her son,
who is growing up in a highly dramatic,
uncertain, ever-changing environment.
Ricky has never known what it
means to have real friends, for his
friendships never lasted more than two
years, at the most. That's the longest
his family ever stayed put in one place
before his dad was moved elsewhere
for military reasons.
The Selbys live under tension at all
times, never knowing when Roy will
be separated from them, or for how
long, or whether he'll ever return.
Sometimes, his work may entail such
secrecy that he can't even alert his
wife as to what might happen.
Ricky's feeling of emotional security
is very much in the hands of his mother.
If she is a warm, loving, strong person,
the child can survive the tensions im-
posed by his dad's job and any sudden
separations from him. Even the child
who attends a sleep-away camp or out-
of-town school — 0/' is hospitalized
through illness or injury — successfully
copes with such separation from his
family only when he lives in a home
where he feels secure and knows that
his parents love him, as well as each
other.
A boy, of course, needs masculine
companionship in order to identify
with a strong male figure: His father.
If his father is away too long or too
often, a boy is bound to be hurt, even
in the best of families. Since his dad
is a "soldier," Ricky may have less of
a problem than do his civilian counter-
parts, because he's growing up in an
environment where it's not unusual for
fathers to be away from their families.
Anne Selby must have great faith in
her husband in order to survive the
anxiety that must plague her constantly.
She must believe in his love and in his
ability to take care of himself. The wife
of America's famous Astronaut, Col.
Glenn, showed as much courage, emo-
tionally, as did her husband physically.
This is the pattern Anne must follow.
In a particularly exciting episode,
Captain Roy Selby and his buddy.
Lieutenant Sig Levy, are held captive
on a Russian ship which picked them
up at sea when they Were attempting
to recover the pay-load of an exploded
missile during a squall. Anne does not
yet know that Roy and Sig are being
detained as spies. All she knows is
that they are missing.
She doesn't tell even this to Sig's
wife, Jeanette, who is her friend. She
doesn't want to worry her and is wait-
ing for more information before giving
her the news. However, she does take
her son. Ricky, into her confidence.
Is this fair to her friend? Is it fair
to the bov?
Anne was wrong in revealing such
news to her twelve-year-old son. He is
too young to recognize the situation in
its true perspective, and could be hurt
emotionally. When a wife takes a
youngster into her confidence this way,
in real life, we are inclined to suspect
that she is using him as a husband-
substitute, viewing him as an adult
rather than as the child he really is.
Also, it is inconsistent for her to
speak out to her son but withhold such
information from her friend. Even
though Jeanette is pregnant and Anne
is presumably trying to protect her
from worry, she is not playing fair with
her. This situation deeply concerns the
other wife, too, and she should know
what's happened.
Again, if a woman behaved this way
in real life, we would suspect that she
may be expressing some unconscious
feeling of hostility to her friend under
the guise of "protecting" her, or per-
haps might want to play martyr and
not share her martyrdom with anyone
else — a selfish attitude, in any case.
Learning to live with death
Ricky is terribly upset. He can't
sleep. He complains about missing his
father even at those times when he
normally wouldn't be with him; just
knowing he's there, if he needs him,
makes him feel secure. Anne smothers
her own fears and bravely tries to re-
assure her son.
But what if Roy should never return ?
How can a mother prepare her child
for the possible loss of his father?
This situation calls for great courage
on Anne's part, and adult courage
means recognizing things as they are,
standing up to them and dealing with
them forthrightly. Anne has shown
courage here. She has fought back, in
the face of stress and anxiety, in order
to sustain her child. She has set him
a good example, nourished him on
hope and love and the truth of the
matter. She has not broken down; if
she had, then the last support of her
child would have crumbled and Ricky,
too, would have broken.
This is all that any mother can do
when her husband is threatened and
may never return to the family fold.
Of course, a very young child should
not be exposed to as much of the facts
as an older one. The emotional age of
the child must be considered, too.
A moral question is raised by Roy's
imprisonment, and it reminds us that
perilous situations sometimes lead to
unwholesome, less than honest solutions.
In this case, the problem arises because
Roy and Sig have found a benefactor
aboard their prison ship — an officer
who shows a desire to defect and flee
to America.
When this officer inadvertently leaves
the door open to Roy's cabin, Roy pro-
tects him by going along with Sig's
explanation to the ship's commanding
officer that an innocent sailor named
Kirov was the guilty party.
No matter what the circumstances,
this is not a moral solution. Kirov is
innocent of wrong-doing — he is a
human being, and likely to be punished
for something he didn t do. Morality
means distinguishing right from wrong
in all situations, not fust when it's con-
venient to act one way or another. It
may be expedient to accuse Kirov, in
order to save their friend's skin, but it
is not moral.
It is inconsistent with Roy's integrity
to behave this way — his resourcefulness
should have allowed him to come up
with a more honest solution. Regardless
of one's good intentions, it is dangerous
to sink to the level of permitting the
means to justify the end. In this par-
ticular case, real-life actions must not
model themselves after those of TV
plays. We should be careful to avoid
confusion between doing what's right
and doing what's expedient. Modern
society already suffers a great deal
from such confusion.
Roy, of course, does return safely
and is re-united with his family. The
closeness of his relationship with his
wife is expressed again in an incident
where, only through Anne's alertness
and assistance, does he become able to
clear an innocent man and prevent his
being court-martialed.
This is the kind of upright behavior
completely consistent with Roy's
character — and it is significant that
Anne was of help to him. Marriage, if
it is to be a good one, must be a part-
nership which is equally shared. Those
wives and husbands who cannot un-
burden themselves to each other, and
are forced to live separate, private,
secret lives, are missing all the joys of
marriage. Even when life is a con-
tinual crisis — the more they have in
common, the better they'll be able to
cope with their problems.
Anne has acted as a true wife here,
by taking an active interest in her
husband's work. Roy has responded as
a true husband by accepting and
acknowledging her interest. Both have
shown their ability to share both the
good and the bad that life has to offer.
This ability to share is bound to have
a healthy effect on their young son.
Captain Roy Selby, his wife Anne
and their son Ricky are pretty special
people, in terms of the harum-scarum
life they're forced to lead. But, deep
down inside, they're not very different
from other families. Even though most
husbands aren't threatened by physical
danger, they and their families are at
the mercy of other just-as-frightening
concerns. A man can lose his job . . .
or become seriously ill . . . or be lured
away by another woman's charms.
Trouble can beset anybody's family at
any time. A crisis can occur, without
notice, about anything from health to
finances.
But remember: Though your prob-
lems may be similar to those faced by
your favorite TV heroes and heroines,
your solutions may have to be quite dif-
ferent.
Next month, we'll analyze another
popular daytime drama and try to make
its story and its characters meaningful
in your own lives and relationships with
those you love. — The End
"The Clear Horizon" is on CBS-TV,
Mon.-Fri., 11:30 to 11:55 a.m. edt.
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CHUCK CONNORS
(Continued from page 32 )
Chuck Connors stared lifelessly ahead
for a moment and then closed his eyes
a bit wearily, as if to wash away the
vision of his ruined marriage.
"This is a very hard time for me,"
he said hesitantly. "You've probably
read that my wife was granted her
interlocutory degree today. It's all been
a terrible experience for me. I did it
for the sake of our boys. My critics
won't believe that but I don't care. I'm
tired of trying to justify my actions
to them.
"The boys are my whole life. I went
through with the divorce primarily for
their sake. If I didn't think it was
going to be best for them, I would never
have agreed to the separation.
"I know some people think I'm
wrong, but I'm not concerned about
that, any longer. All I care about is
my sons and what is best for them.
"I truly think the boys are happier
than they've been in a while," he went
on after a moment. "My relationship
with them is stronger, too, for when
I'm with them now I'm a whole person,
not half a man wracked with worry and
tension. I don't yell at them to cut out
the noise because they're disturbing me
while I'm trying to learn a script. I'm
all theirs and I can devote my entire
mind to them.
"It's not the easiest job in the world
being a father to four boys. It takes a
lot of work and a lot of guidance to
raise them. I'm proud of how close we
are. I've tried hard to steer them in the
right direction, but I've always allowed
them to make their own decisions. Right
now Mike, who's eleven, Jeffrey, who's
nine, and eight-year-old Steven are con-
vinced they'd like to be professional
baseball players. Sure, that gives me a
kick because of my background as a
professional athlete, but I don't push
them into sports or anything else.
"I feel that each of them has to be
himself, physically and psychologically.
And they're each so different. Michael
is a big, strong, virile boy who lives in
a world composed almost entirely of
sports. He does have an artistic side,
however. Mike's sensitive. He has to
be constantly reassured of my love. The
others take it more for granted.
"Jeffrey is the natural athlete in the
family. My wife took him ice skating
for the first time several months ago.
Within two hours, the hockey coach at
the rink had noticed him and wanted
him for the team." Chuck's voice
boomed with parental pride. "He's fast
as greased lightning. I play basketball
with the boys and Jeffrey can outshoot
me, basket for basket." His voice
lowered as he added, "Jeff's also very
good looking. He takes after my wife,
who is a beautiful woman.
"Steve's the intellectual one of the
crowd — but," Chuck hastened to add,
"he's no bookworm. He's a pretty great
j athlete, too.
v "And Kevin — Kevin's the baby and
R the little king in our house. Everyone
makes a fuss over him and I guess he
knows it. He's something special to us."
The smile that had played at the
lips of the tall, husky actor faded. "It
hasn't been easy, but I think we're bet-
ter off now. The boys are happy and
well adjusted. No one can survive and
grow in an unhappy atmosphere.
"Of course it tears me apart. Why
shouldn't it? Last weekend I took the
boys to the ball game and afterward
we stopped over at Ray Danton's house
where we got into a football game with
him and his kids. It was great. Ray's
boy threw a pass to him for a touch-
down and Mike caught one from me to
tie up the score. It ended a tie game,
but it was a father-son victory for both
sides. After the game, Ray's wife fixed
us all a batch of hamburgers for dinner.
The day had been a wonderful one for
the boys and me, a real family session.
But then, when I got ready to drive
the boys home, Kevin said, 'Daddy, I
don't want to go home. I want to stay
with you in your house tonight.' It
tore me apart. I couldn't tell him, 'It's
not in the settlement, son.'
"Actually, though, my wife has been
very good about allowing me to see the
boys whenever I wish. I'm supposed to
have them only every other weekend,
but I always see them more often than
that. I've rented a small house in
Beverly Hills and I'm fixing it up so
I can have the boys stay overnight.
"I'm planning a lot of wonderful
times with them. In a couple of weeks,
I'm going to take them up to the moun-
tains to hunt for arrowheads. If the
weather is nice, we'll camp out. If not,
we'll rent a motel room, but either way
it will be a real family affair."
The word "family" popped up fre-
quently in Chuck's conversation, al-
though he seemed unaware of it. "I'm
also planning a special children's pre-
view of my new picture 'Geronimo' and,
of course, I'm going to take my boys to
that. I'm excited about the movie and
anxious for the children to see it. It's
a real family picture."
The things that trouble them
Chuck shook his head as if to answer
a silent question that had come to his
mind. "No, I don't think our relation-
ship will be much different than it's
ever been. Oh, sure, I'm not with the
boys constantly, but when we're to-
gether they ask my advice about things
that have been troubling them, and I
still try to keep a close eye on their
school work. Mike was having a prob-
lem with arithmetic a short while ago.
I had him go over some problems with
me and I saw he had missed the basic
principle. I worked with him for a
couple of hours and it cleared every-
thing up for him.
"It's been eight months since I left
home. I've had plenty of time to see
how the boys are adjusting and I've
found they've adjusted well. We talk
together about everything — except the
divorce. They were told when it all
happened that I had to move away and
they all seem to understand. So there
is really no need for us to discuss it.
"I make sure that the time we spend
together is a happy time. We go hiking
and fishing as we have in the past.
Anyone who has worked with me knows
how close the boys and I have always
been. I've brought them on the set quite
a few times and they're in heaven there.
Of course, after about ten minutes of
watching the show being shot they get
bored and run off to the studio's back
lot. That place is a kids' paradise. Dirt
roads, mountains — it's like the Old
West come to life.
"I think the reason I've never had to
work very hard to achieve a closeness
with my sons is because they respect
me. They know I love them, but they
know, too, that I won't let them walk all
over me. Kids are like colts. You have
to ride them with a loose rein, but they
have to know at all times that the rein
is there."
He laughed. "Of course, I don't al-
ways do such a good job in the dis-
cipline department. The boys were
always asking me what a personal-
appearance tour was like, so I decided
to take them along with me on one last
summer. Do you know what they liked
most about the trip? Running up and
down the halls in the hotel and sliding
down the laundry chute. Kevin was
real proud of himself when he told me,
'Dad, we found the neatest slide in the
closet.'
"I'm going to tell you something. I
don't believe discipline is really too im-
portant. The most important thing is
love. If children know you love them,
everything else falls in place. I don't
mean that you have to be constantly
picking them up and kissing them, but
you have to make them aware of, and
confident of, your love. You can't fool
children about this. They have an in-
stinctive feeling that tells them who's
on their side and who's not.
"Love, that's the important thing. Oh,
there's so much I can't say — don't want
to say — but I will tell you this: The
boys and I are a closer family now
than we ever were before. Do you be-
lieve that? It's true. I can't tell you
how they act when we're separated, but
when we're together I see them being
happy and carefree. Their lives are no
longer being torn apart. I'm sure my
wife is happier, too. The times I've seen
her, she's seemed more relaxed and
better adjusted. She's now better able
to cope with the boys and their prob-
lems. Me? I know how I feel. Like a
weight has been taken off my mind."
Chuck suddenly sat forward and a
note of urgency filled his voice as he
asked, "Do you know what the most
important entity in the world is? It's
the family. Think about it. Certainly the
ideal setup is a family with a mother,
a father and children, but it can't al-
ways be that way. Do you know why
my television show, 'The Rifleman.' has
been successful for so long? Because
that strong family feeling comes across
between Johnny Crawford and myself.
It gets right to the viewer — the love of
a father and son. I've no wife in the
show, but Johnny and I, we're a family,
aren't we? Well, that's the way it is
with me and my boys. We're a family.
Maybe no one else thinks of us as being
a complete unit. Maybe we're not the
picture the story books portray. But
we are a family, and a close one. And
you know something? That's the way
we're going to stay." — Marilyn Beck
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| Room 9R82 - 121 S. Wabash Ave., Chicago 3, III. \
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LANDER CO. INC., FIFTH AVE., NEW YORK
AUGUST, 1962
MIDWEST EDITION
VOL. 58, NO. 3
IT HAPPENED THIS MONTH
Eddie Fisher 14 Stealing Back into Debbie's Heart James Hoffman
Richard Chamberlain 26 Secretly Married ! TV's Hottest Rumor ! . . Dean Gautschy
Vincent Edwards 30 The Next Best Thing to Marriage Nick Dennis
The Lennon Sisters 32 The Day God Answered No Eunice Field
Perry Como 34 Why He Stopped Being a "Nice Guy" Irene Storm
Peggy McCay 38 Twist — from Efrem Z. to Robert Q.! James Gregory
Gracie Allen 40 "Am I Too Sick to Know the Truth?". . .Rocky Rockwell
Second Honeymoons 43 Is Love Sweeter — the Second Time? Marilyn Beck
Cara Williams 46 "He's No Barrymore!" Chris Alexander
Michael Landon 48 "I'm Their Father Till I Die" Alan Somers
Ted Mack 50 Are You Losing Out in Life? Betty Etter
"Love of Life" 53 Does a Second Wife Have to Be Second Best?
Kathy Nolan 56 My Fight to Save My Reputation, .as told to Tex Maddox
Carol Burnett 58 Why She and Garry Moore Had to Part . . Chrys Haranis
Arthur Godfrey 60 "Every Day I Live with Dying" George Carpozi Jr.
George Maharis 62 Why They Warn You About Him Pat Richards
Sebastian Cabot 64 "But Darling, We Can't Afford It!" Tricia Hurst
BONUS: A MAGAZINE WITHIN A MAGAZINE
17 Close-up on Bobby Darin 21 Tops in Singles
18 Album Reviews 22 Music Makers in the News
24 The Wonderful World of Ed Sullivan
WHAT'S NEW? WHAT'S UP?
4 Information Booth
6 Earl Wilson's Inside Story
12 What's New from Coast to Coast
82 Photographers' Credits
SPECIAL: YOUR MIDWEST FAVORITES
Marc Alan 67 It's Kissin' Time (KLEO Radio)
Connie Mitchell 68 This Is Work? (WBBM)
Bill Kennedy 70 Meet "Mr. Movie" (CKLW-TV)
"Ripcord" 72 They Fly Through the Air
CLAIRE SAFRAN, Editor
EUNICE FIELD, West Coast Editor
TERESA BUXTON, Managing Editor
LORRAINE BIEAR, Associate Editor
ANITA ZATT, Assistant to Editor
JACK J. PODELL, Editorial Director
JACK ZASORIN, Art Director
FRANCES MALY, Associate Art Director
PAT BYRNE, Art Assistant
BARBARA MARCO, Beauty Editor
_»m
TV Radio Mirror is published monthly by Macfadden-Bartell Corporation, New York, N. Y. Executive, Adver-
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Second-class postage paid at New York, N. Y., and other additional post offices. Authorized as second-class
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A Good Choice
On "The Lawrence W elk Show" on
Saturday, he announced that your maga-
zine had awarded the Lennon Sisters
a Gold Medal for being the best family
entertainers. You chose the right girls.
Eveline Marcello
Flushing, N. Y.
Does Scandal Pay?
0*%
(z AUG. S)
\*o >y
It is a deep insult to the many fine
people of the theatrical profession that
most magazines seek to promote those
who do dishonor to their profession and
to human values as well. Your TV Ra-
dio Mirror presents refreshing articles
on the fine people of the theater today.
You have shown them as human beings
with a special talent who work with it
and enjoy their work. You have covered
the life and ideals of public favorites
without sensationalism or mistrust of
the confidence placed in you by those
you interview. I was especially grateful
for the June article on Vincent Ed-
wards which dispelled the rumors about
his family relationship, and your earlier
article by his charming girlfriend.
Please continue to present your maga-
zine in this fine form. It is a credit to
you and the media you cover.
Joan Evanish
New York, N.Y.
"Hawaiian" Native
IZ AUG zl
\*oo>y
What can you tell me about Doug
Mossman, who plays Moke on "Hawai-
ian Eye"?
J.S.B., Bronxville, N.Y.
Very few viewers watching "Hawai-
ian Eye," on ABC-TV, realize that
Moke, who wears a police-like uniform
and works for the "Hawaiian Eye" in-
vestigators, is played by half-Hawaiian
Douglas Kinilau Mossman. . . . Doug
was born in the Islands, attended the
famous Kamehameha school and was
graduated from the University of Ha-
waii. His father was three-quarters
Scottish and one-quarter Hawaiian; his
mother three-quarters Hawaiian and
one-quarter Scottish. This, says he,
makes him half-and-half. . . . Besides
his role in the series, the versatile actor
has two other connections with the
show. He serves as technical director,
working with the producer to make sure
everything is accurate with regard to
its island locale — clothes, props, cus-
toms, and pronunciation of Hawaiian
words. He also is an accomplished mu-
sician and works with Connie Stevens
and Poncie Ponce on the Hawaiian
songs they sometimes do in the show.
. . . Mossman is married to a Japanese
girl who was born in Hawaii. . . . His
middle name means "many thousands
of relatives," which he really has. This
may be one of the reasons the series is
so popular in the Islands. — Ed.
Calling All Fans
: AUG. zl
v^y
The following fan clubs invite new
members. If you are interested, write to
addresses given — not to TV Radio Mir-
ror.
Ben Casey Fan Club, Vivian Owens,
165 Marshall Lane, Derby, Conn.
Connie Francis Fan Club, Eileen
Weaver, 83 Cambridge Avenue, Saddle
Brook, N.J.
Michael Ansara Fan Club, Bonnie
Tagami, 2472 Raggio Avenue, Santa
Clara, Calif.
Paul Anka Fan Club, Elaine Burke,
6 High Street, Lawrence, Mass.
Rick Nelson Fan Club, Sue James,
8421 Boyne Street, Downey, Calif.
McGuire Sisters Fan Club, Linda
Moore, c/o McGuire Office, 157 West
57th St., New York 19, N. Y.
Write to Information Booth, TV Radio Mirror,
205 E. 42nd St., New York 17, N. Y. We regret
we cannot answer or return unpublished letters.
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Can Jackie Gleason launch "The
Honeymooners" on a new honey-
moon — or is the honeymoon over?
Oval-shaped, bouncing, bellowing
Jackie is determined to lure Art
Carney and Audrey Meadows
back into regular performances on a
new "Honeymooners" series when
he returns to CBS-TV this fall. And
a determined Jackie is hard to stop.
But there are some skeptical peo-
ple around — some who'll belly right
up to Jackie and scream as loudly
as he does and say it's not such a
sensational idea.
One happens to be wise, shrewd
Bill McCaffrey, Art Carney's man-
ager. He knows very well that Ed
Norton, sewer worker, and Ralph
and Alice Kramden have become
classic figures of TV, thought by
millions of viewers to be the best
thing ever put on the home screen.
"And that's the trouble with try-
ing to bring them back as a family,"
he says. "The farther you get from
the original, the greater it becomes
in the public imagination and mem-
ory. And therefore the harder to top,
or even equal, in a new series!"
But some sentiment, and perhaps
even love, is involved here. Jackie
helped make Art and Audrey the big
people they are today. They both
love Jackie. They loved working
with him. They probably didn't love
it as much at the time as they think
they did now. But it was then that
they came into greatness and there's
a good chance now — as we slash this
out on our typewriter — that there'll
be three or four new "Honeymoon-
ers" this season at least.
"Art Carney is a star now in his
own right," declares his manager.
"Audrey Meadows is a star now
in her own right," says her man-
ager, Val Irving.
It's true about them both. Strange-
ly, Audrey has made it in the movies
and Cary Grant wants herein an-
other film following her success in
"That Touch of Mink."
And there are all kinds of starring
offers at hand for Carney, whose box
office appeal kept a Broadway show,
"Take Her. She's Mine," going for
KARL
■jfe
WILSON'S
m
Ife:,.'
MM
Special four-page gossip section: Who's in? Who's out? What's up? Each and
every month, TV Radio Mirror brings you the scoopiest column in any magazine !
many weeks longer than had ap-
peared likely.
Having become big stars, they're
worth more money than they were
when they last worked with Jackie.
That's another problem. But can
Gleason do without them? There has
been talk of finding "another Art
Carney" and "another Audrey Mead-
ows." But where do you look — and
do you really want to look — and
what's a few thousand bucks to
Jackie Gleason Enterprises? That's
why we predict "The Honeymoon-
ers" isn't over.
Did anybody happen to notice that
Shirley Booth has now won the
Grand Slam of acting? Quite a long
time ago, she won a Tony and then
an Oscar for "Come Back, Little
Sheba"; now recently she won an
Emmy for her "Hazel" series. That
gives her just about all the prizes
that are available.
"Where do you keep all your
trophies?" I asked her.
"I have a little room 'way, 'way in
the back," Shirley said. "I don't
think it's nice to be ostentatious
about it."
Shirley likes to tell how she "fell
right on my face" when she won the
Oscar. She did, too. She tripped on
her long dress and went kerplunk on
Shirley Booth and Bobby Buntrock.
her kisser as she plunged up to ac-
cept the award.
DON'T PRINT THAT! One of
the young married TV singers came
close to embarrassing his wife by
being around New York not so dis-
creetly with another gal. He was
spotted smooching the other babe
rather openly. . . . Several readers
have written to me that they don't
think Richard Burton should be
permitted on American TV. (We
think the decision on such matters
as that shouldn't be too hastily
reached; anyway, wouldn't that be
some sort of a morals censorship?)
. . . There's still some bad feeling
simmering about the Emmy Awards
— East vs. West, never-the-twain-
shall-agree and all that. The West-
erners are likely to draw their forces
tighter next year.
Do you remember Kenny Del-
mar, alias Senator Claghorn? He
who was the sensational comic on
the Fred Allen radio show and then
went on Fred's TV program, making
famous such remarks as "That's a
joke, son!"
Still a young fellow, gifted at dia-
lect, and an excellent actor, Kenny
became famous almost overnight —
and that's been his trouble. He
wasn't able to sustain the incredible
reputation that came so swiftly. But
he's done quite well — and, interest-
ingly, is about to make a movie in
Greece, written by his 21-year-old
son, Kenny Delmar Jr.
Recently {Please turn the page)
Gleason s back — and there's just one question: Is the "honeymoon" over? Some say yes, but Jackie says a loud no!
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continued
Kenny came out at a TV gathering
"to see all my old friends in the
business." He confided to this col-
umnist: "And you're the only one I
saw that I know! It's a new genera-
tion!"
Vince Edwards was reported to
be marrying beautiful, blonde Cali-
fornian Sherry Nelson — so I asked
him about it. For once, the non-
smiling Dr. Ben Casey grinned, just
a little, and said, "I've been going
steady with a gal" — Sherry — "and if
I get married to anybody, it'll be
her." But he indicated they were in
no hurry. "She knew me well when
I was busted," he said.
Scarcely-known fact about Vince:
He once waited tables in a sorority
house at Ohio State University,
while a freshman and sophomore
there.
Marty Ingels, who'll co-star on
ABC's new show, "I'm Dickens, He's
Fenster" (it's about a couple of
comic carpenters), got his first big
break on a Steve Allen show, win-
ning a guest shot without so much
as an audition.
Actually, Marty was ready to go
before the cameras to give his rou-
tine for the brass, but then he got
started talking about the National
Guard and the nation's military set-
up and was so funny before the au-
dition that he was hired straight out.
"War," Marty pointed out, "is a
question of timing. See, everyone
meets at night in their uniforms,
ready to do battle. But," he lifted a
finger, "if we get attacked in the
morning or afternoon, we're fin-
ished, because all the troops are at
the office, dressed in civvies."
Marty also cited a complicated
battle plan, whereby each general
calls so many colonels, each colonel
calls so many majors, and so on
down the line, till every private is
alerted. He envisioned this telephone
conversation :
"Hello, is Colonel Schwartz there?
Oh, he's sleeping? No, don't bother
to wake him. Will you give him a
message, please? Tell him to be sure
to call all the majors because we're
at war. No, that's W . . . A . . . R . . ."
The return of "Talent Scouts'' this
summer reminds us of the story Irv-
ing Mansfield, the show's producer,
tells of the time he went back to his
old neighborhood, flush with the suc-
cess of his first TV credit. He came
upon an acquaintance, who asked:
"What are you doing these days?"
"I'm in TV," said Irving proudly.
"Wholesale or retail?" came the
squelch.
Sam Jaffe, who got into a hassle
with the "Ben Casey" people about
having his part expanded, told me
the dispute had been settled amic-
ably, and it was agreed that Dr. Zor-
ba would have a more prominent
part next season. But Sam prefaced
his remarks with an amusing word-
play: "It's my only beef — and re-
member, I'm a vegetarian!"
No one had a greater appreciation
of Ernie Kovacs' comic gifts than
Sandy Stewart, the pretty singer
on "The Perry Como Show." Sandy
broke into TV as a regular on
Ernie's old morning show, and she'll
talk for hours on all the nutty things
Ernie did.
"He had some sense of humor,"
said Sandy in awe. "You had to be
on your toes every minute of the
show because you'd never know
what he was going to do next. Some
mornings, he'd come in and say, T
don't feel like writing the show to-
day. Let's ad-lib it. Sandy, camera-
man, you just follow me.' '
Barbara Eden, now a big movie
star, also got her start working for
a star who wasn't one back then:
Johnny Carson. Barbara figures
he'll be as big a hit as Jack Paar
ever was — as soon as the audience
can identify with him.
"Johnny's creatively funny — like
Jack Benny," said Barbara, who
worked with Johnny on the Coast.
"Benny can stand up there and do
almost anything and be funny, be-
cause the audience has come to
know Jack as a particular per-
sonality. It'll be the same with
Johnny when they know him."
Sid Caesar's up to his old great
tricks of tearing up the script and
playing the sketch by ear. Sid, you
know, will be back once a month
next season with "As Caesar Sees It."
One of "Caesar's Players," Andy
Duncan, was talking about Sid's
great improvisational talents in a
sketch about two stuffy Engishmen
playing billiards.
The idea was to make firewood
of the billiard table with razor-tip
cues, and after Andy took a shot that
virtually dissected the table, Sid
piped up: "Ripping shot, ol' boy!"
Who says TV viewers are asleep
at the wheel? Garry Moore, re-
cuperating from an operation on
his right hand, was shaking hands
left-handed on his shows — and no
fewer than 4,000 persons wrote in
one week to seek an explanation.
It's simple enough, according to
my crewcut counterpart: The hand's
too tender (he even had it in a sling
during rehearsals to keep the pres-
sure off) to risk re-injury by being
on the other end of a bone-crunching
greeting.
Speaking of Garry, he's been va-
cationing in Maine, in what's de-
scribed as the only "fiord" in Ameri-
ca. A fiord, in case you haven't been
to Norway lately, is a narrow inlet
or arm of the sea bordered by steep
cliffs. When Garry refers to it, he
say slyly: "It's a fiord — and much
as I'd like to say Oldsmobile (his
sponsor), I can't."
FEARLESS FORECASTS: Now
that she's packing an Emmy for am-
mo, CBS may consider more seri-
ously Carol Burnett's request to
do a spec. on "Calamity Jane," her
pet project. . . . ABC, roundly criti-
cized for using the slow-motion video
tape in the Benny Paret tragedy,
will stand firm on its use. . . . Tony
Martin and Cyd Charisse will be
united professionally for the first
time for an hour-long TV spec. Our
fearless forecast is that this'll mean
thirty minutes less of watching Cyd's
luscious gams. . . . Lassie will en-
roll at Actors' Studio — now that
Mr. Ed beat her out of the "Patsy"
Award as TV's top performing ani-
mal. . . . Those famous ex-Leather-
necks, the Everly Brothers, won't
be invading TV's "wasteland"
much; they're determined to have
their battle cries heard on the Holly-
wood sound stages.
Jack Weston, the papa nurse-
maid to the Marquis Chimps on
"The Hathaways," couldn't contain
his delight over the fact that the
show won't be renewed for next sea-
son. It was fun and all that, Jack
said, but, somewhere along the line,
evolution got its signals crossed:
"One day I walked on the set and
saw one of the chimps sitting in
the director's chair sipping a beer.
That was a little too much!"
— That's Earl!
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THE MOORE THE MERRIER
What is it about Garry Moore that gives his listeners such a
lift? That makes people feel good just for having tuned in?
Garry, along with his pal and partner, Durward Kirby,
conducts one of the most attractive programs in all radio on
the CBS Radio Network every weekday morning.
And all it is, really, is talk ! Candid, personal, completely
engaging give-and-take about everything under the sun.
What Garry likes and dislikes about show business, maybe.
Or how it feels to be short. (Durward is apt to come in with
how it feels to be so tall.)
Garry will often surprise you. He doesn't believe in false
modesty, yet he tells you right out that he doesn't consider
himself a great comic, singer, dancer or anything like that.
What Garry Moore is is a remarkable personality. That's
why his audiences respond to him so.
That's why you'll find his program brightens your day.
Tune in on Garry and Durward tomorrow. Better still,
make your morning even merrier. Catch the whole CBS Radio
weekday morning lineup. You'll hear radio's greatest array
of performers.
Before and after Garry Moore, there are Arthur Godfrey,
Art Linkletter, Bing Crosby and Rosemary Clooney. All dif-
ferent, but each possessing a special magic that means spe-
cial enjoyment and entertainment for you. They're all on the
CBS Radio Network every weekday morning. Consult the
list below for your local CBS Radio station.
CBS RADIO STATIONS:
Alabama Birmingham WATV, Gadsden WAAX, Mobile WKRG, Montgomery WCOV, Selma WGWC, Tuscumbia WVNA Arizona
Phoenix KOOL, Tucson KOLO Arkansas El Dorado KELD, Fort Smith KFPW, Little Rock KTHS California Bakersfield KERN, Chico
KHSL, Eureka KINS, Fresno KFRE, Los Angeles KNX, Modesto KBEE, Palm Springs KCMJ, Redding KVCV, Sacramento KFBK,
San Diego KFMB, San Francisco KCBS Colorado Colorado Springs KVOR, Denver KLZ, Grand Junction KREX Connecticut Hartford-
Manchester WINF, Waterbury WBRY District of Columbia Washington WTOP Florida Fort Myers WINK, Jacksonville WMBR, Miami
WKAT, Orlando WDBO, Pensacola WDEB, St. Augustine WFOY, Sarasota WSPB, Tallahassee WTNT, Tampa WDAE, West Palm
Beach WJNO Georgia Albany WGPC, Athens WGAU, Atlanta WYZE, Augusta WRDW, Columbus WRBL, Gainesville WGGA, Macon
WMAZ, Rome WRGA, Savannah WTOC, Thomasville WPAX Idaho Boise KBOI, Idaho Falls KID Illinois Champaign WDWS, Chicago
WBBM, Danville WDAN, Decatur WSOY, Peoria WMBD, Ouincy WTAD, Rock Island WHBF, Springfield WTAX Indians Anderson
WHBU, Fort Wayne WANE, Indianapolis WISH, Kokomo WIOU, Marion WMRI, Muncie WLBC, South Bend WSBT, Terre Haute
WTHI Iowa Cedar Rapids WMT, Des Moines KRNT, Mason City KGLO, Ottumwa KBIZ Kansas Topeka WIBW, Wichita KFH Kentucky
Ashland WCMI, Hopkinsville WHOP, Lexington WVLK, Louisville WKYW, Owensboro WOMI, Paducah WPAD Louisiana New Orleans
WWL, Shreveport KCIJ Maine Portland WGAN Maryland Baltimore WCBM, Cumberland WCUM, Frederick WFMD, Hagerstown
WARK Massachusetts Boston WEEI, Pittsfield WBRK, Springfield WMAS, Worcester WNEB Michigan Adrian WABJ, Bad Axe
WLEW, Grand Rapids WJEF, Kalamazoo WKZO, Lansing WJIM, Port Huron WHLS, Saginaw WSGW Minnesota Duluth KDAL, Min-
neapolis WCCO Mississippi Meridian WCOC Missouri Joplin KODE, Kansas City KCMO, St. Louis KMOX, Springfield KTTS
Montana Billings KOOK, Butte KBOW, Missoula KGVO Nebraska Omaha WOW, Scottsbluff KOLT Nevada Las Vegas KLUC
New Hampshire Keene WKNE, Laconia WEMJ New Jersey Atlantic City WFPG New Mexico Albuquerque KGGM, Santa Fe KVSF
New York Albany WROW, Binghamton WNBF, Buffalo WBEN, Elmira WELM, Gloversville WENT, Ithaca WHCU, Kingston WKNY,
New York WCBS, Pittsburgh WEAV, Rochester WHEC, Syracuse WHEN, Utica WIBX, Watertown WWNY North Carolina
Asheville WWNC, Charlotte WBT, Durham WDNC, Fayetteville WFAI, Greensboro WBIG, Greenville WGTC North Dakota Grand
Forks KILO Ohio Akron WADC, Cincinnati WKRC, Columbus WBNS, Dayton WHIO, Portsmouth WPAY, Youngstown WKBN Okla-
homa Oklahoma City-Norman WNAD, Tulsa KRMG Oregon Eugene KERG, Klamath Falls KFLW, Medford KYJC, Portland KOIN,
Roseburg KRNR Pennsylvania Altoona WVAM, DuSois WCED, Erie WLEU, Harrisburg WHP, Indiana WDAD, Johnstown WARD, Phila-
delphia WCAU, Pittsburgh-McKeesport WEDO, Reading WHUM, Scranton WGBI, State College WRSC, Sunbury WKOK, Uniontown
WMBS, Williamsport WWPA Rhode Island Providence WEAN South Carolina Anderson WAIM, Charleston WCSC, Columbia-Cayce
WCAY, Greenville WMRB, Spartanburg WSPA South Dakota Rapid City KOTA, Yankton WNAX Tennessee Chattanooga WDOD, Cooke-
ville WHUB, Johnson City WJCW, Knoxville WNOX, Memphis WREC, Nashville WLAC Teias Austin KTBC, Corpus Christi KSIX,
Dallas KRLD, El Paso KIZZ, Harlingen KGBT, Houston KTRH, Lubbock KFYO, San Antonio KMAC, Texarkana KOSY, Wichita Falls
KWFT Utah Cedar City KSUB, Salt Lake City KSL Vermont Bane WSNO, Brattleboro WKVT Virginia Norfolk WTAR, Richmond WRNL,
Roanoke WDBJ, Staunton WAFC Washington Seattle KIRO, Spokane KGA West Virginia Beckley WJLS, Charleston WCHS, Fairmont
WMMN, Parkersburg WPAR, Wheeling WWVA Wisconsin Gieen Bay WBAY, Madison WKOW, Milwaukee WMIL Wyoming Casper KTWO.
THE CBS RADIO NETWORK
THE MOORE THE MERRIER
Garry, along with his pal and partner DSffinrhv
a j ,, ■ !° Network every weekday morning
And all it is, really, is talk! Candid, personal! comnletelv
engaging g,ve-and-take about everything under the sun
SK?S7 ! lk f .? nd , diSlik6S ab0 "w g busT„ e r ss may™!
L^Ktfir£r (D ™ d is ^ to — * wi*
Garry will often surprise you. He doesn't believe in false
modesty, yet he tells you right out that he doesn't consider
wu . o great , C , 0mic ' singer > dancer or anything like that.
What Garry Moore is is a remarkable personality. That's
why his audiences respond to him so.
That's why you'll find his program brightens your day
Tune in on Garry and Durward tomorrow. Better still
make your morning even merrier. Catch the whole CBS Radio
weekday morning lineup. You'll hear radio's greatest array
of performers.
Before and after Garry Moore, there are Arthur Godfrey,
Art Linkletter, Bing Crosby and Rosemary Clooney. All dif-
ferent, but each possessing a special magic that means spe-
cial enjoyment and entertainment for you. They're all on the
CBS Radio Network every weekday morning. Consult the
list below for your local CBS Radio station.
CBS RADIO STATIONS:
Alabama Birmingham WATV, Gadsdon WAAX, Mobilo WKRG, Montgomery WCOV, Selma WGWC, Tuscumble WVNA Aiiiom
Phoeni* KOOL, Tucson KOLD Arkansas El Dorado HELD, Fort Smith KFPW. Little Rock KTHS California Bakorsfiold KERN, ChJco
KHSL, Euroka KINS, Fresno KFRE, Los Angeles KNX, Modasto KBEE, Palm Springs KCMJ, Redding KVCV, Sacramento KFBK,
San Diego KFM8, Son Francisco KCBS Colorado Colorado Springs KVOR, Danvor KLZ, Grand Junction KREX Connecticut Hartford-
Manchester WINF, Watorbury WBRY District of Columbia Washington WTOP Florida Fort Myers WINK, Jacksonville WMBR, Miami
WKAT, Orlando WDBO, Ponaneoln WOEB, St. Augustine WFOY, Sarasota WSPB, Tallahsssao WTNT, Tampa WDAE, Wosl Palm
Beach WJNO Gaorgia Albany WGPC, Athens WGAU, Atlanta WYZE, Augusta WRDW, Columbus WRBL, Gainesville WGGA, Macon
WMAZ, Roma WRGA, Savannah WTOC, Thomaavlllo WPAX Idaho Boiso KBOI, Idaho Falls KID Illinois Champaign WDWS, Chicago
WBBM, Danville WDAN, Decatur WSOY, Peoria WMBO, Qulncy WTAD, Rock Island WHBF, Springllold WTAX Indians Anderson
WHBU, Fori Wayne WANE, Indianapolis WISH, Kokomo WIOU, Marion WMRI, Muncle WLBC, South Band WSBT, Terra Hsute
WTHf lows Cedar Rapids WMT, Dee Moinea KRNT, Mason City KGLO, Ollumwa KBIZ KonaaaTopeka WIBW, Wichita KPH Kentucky
Ashland WCMI, Hopkins ville WHOP, Lo.inglon WVLK, Louisville WKYW, Owonsboro WOMI, Paducah WPAD Louisiana Now Orleans
WWL, Shreveport KCIJ Main* Portland WGAN1 Maryland Baltimore WCBM, Cumberland WCUM, Frederick WFMD, Hagoratown
WARK Massachusetts Boston WEEI, Pittsfiold WBRK, Springllold WMAS, Worcester WNEB Michigan Adrian WABJ, Bad A>»
WLEW, Grand Rapids WJEF, Ko.lamar.oo WKZO, Lansing WJIM, Port Huron WHLS, Soglnaw WSGW Minnesota Ouluth KOAL, Min-
neapolis WCCO Mississippi Meridian WCOC Missouri Joplin KODE, Kansas City KCMO, St. Louis KMOX, Sp.ingiiold KTTS
Montana EHMnga KOOK, Butte KBOW, Missoula KGVO Nebraska Omaha WOW, Scotlsblulf KOLT Nevada Laa Vegas KLUC
Near Hampshire Keono WKNE, Loconiu WEMJ Ne* Jersey Atlantic City WFPG Neat Metico Albuquerque KGGM, Santa Fe KVSF
Nest York Albany WROW, Blnghamton WNBF, Buffalo WBEN, Elmlra WELM, Glovereville WENT, Ithaca WHCU, Kingston WKNY,
Now York WCBS, Pluttsburgh WEAV, Rochosler WHEC, Syracuse WHEN, Utica WIBX, Walertcwn WWNY North Carolina
Ashevillo WWNC, Charlotte WBT, Ourham WDNC, Foyettevlllo WFAI, Greensboro WBIG, Greenvillo WGTC North Dakota Grand
Forka KILO Ohio Akron WADC, Cincinnati WKRC, Columbus WBNS, Dayton WHIO, Portsmouth WPAY, Youngstown WKBN Okla-
homa Oklahoma City-Norman WNAD, Tulsa KRMG Oregon Eugene KERG, Klamath Falls KFLW, Medio rd KYJC, Portland KOIN,
Roaobura KRNR Pennsylvania Altoona WVAM. DuBois WCED, Erie WLEU, Har.iaburg WHP, Indiana WDAD, Johnstown WARD, Phila-
delphia WCAU Pillsburgh-McKeosport WEOO, Reading WHUM, Scranton WGBI, Stale College WRSC. Sunbury WKOK, Uni n nlo~ n
WMBS Willlamsport WWPA Rhode Island Providence WEAN South Carolina Anderson WAIM, Charleston WCSC, Columbla-Ceree
WCAY Greenville WMRB, Spartanburg WSPA South Dakota Rapid City KOTA, Yankton WNAX Tennessee Chattanooga WOOD, Cooke-
villo WHUB Johnson City WJCW, Knosville WNOX, Memphis WREC, Nashvillo WLAC Tans Austin KT8C, Corpus Chrlatl KSIX,
Dallas KRLD El Paso KI2Z, Ha.lingan KGBT, Houston KTRH. Lubbock KFYO, San Antonio KMAC. Te.arkan. KOSY, Wichita Falls
KWFT Utah Codar City KSUB, Salt lake City KSLVermonl Barro WSNO, Brattloboro WKVT Vlrginle Norfolk WTAR, Richmond WRNL.
S£r32£5KSE2».K^
THE CBS RADIO NETWORK
Flirty Perties: Rick Nelson and Tom
Harmon's daughter Christine play-
ing ring-around-a-rosy-finger? . . .
Brother Dave gifted wife June Blair
with a white mink stole . . . Dwayne
Hickman, from his sick bed, ogling
Carol Christensen . . . Connie
Stevens giving equal time to Gary,
Barry and Glenn — Clarke, Bezorian
and Ford, that is! . . . Frank Sinatra
whistling again at re-glamorized
Nancy Sr. . . . while Juliet Prowse
and manager Eddie Goldstone call
off mixing business with pleasure. . . .
Ronnie Burns and Helene Crane
"thinking it over." . . . Gardner Mc-
Kay twisting with MM. . . . Geral-
dine Brooks — who said "never again"
saying "maybe" to Fredd Wayne.
Sbpl Look!
TV fioMo I^jjuuvl
ail ^At 'wm's ~$)dk\
by EUNICE FIELD
Teen Topics: Tony
Dow and Brenda Scott
— 'both I 7 — have
been holding hands.
And Tony has been
trying to land Brenda
a steady part in "Leave
It to Beaver." . . . Holly-
wood teens now have their
own nitery, "The Peppermint
Stick." It features danc-
ing, pizzas, burgers and
soft drinks. "It's dar-
ling," chirps Dodie
Stevens. Owner
Dave Rosen vows to
spread the idea
all across the country.
Careering Along: Robert Culp once
felt "Trackdown" scripts cramped his
style — now he has writer's cramp, de-
veloping his own scripts. His "Rifle-
man" two-parter will open that series'
fifth season. . . . Warner Bros, dropped
Anthony Eisley from "Hawaiian Eye"
— but the howls from his many fans are
giving him quite a lift. . . . Bob
Mitchum's son Jim goes TV in a
"Have Gun — Will Travel" and Lisa
Lu, the show's Hey Girl, will beautify
"The Ugly American" alongside Mar-
lon Brando Hugh O'Brian, who's
dated queens and stars aplenty, will
settle for one to love, honor, etc.
Meanwhile, he's making his first really
big movie, MGM's "Champagne
t Flight." A royal-type launching!
v
Naming Names: The same day Doug
McClure checked out of "Check-
mate," he signed for "The Virginians."
Along with Lee J. Cobb, Gary
Clarke and Jim Drury, he'll star in
the 90-minute color series. . . . The
trouble some men have finding their
wallets when the bill is presented has
been christened "shell-out falter" by
Don Rickles . . . Mario Thomas and
Ron Harper, touring in summer stock,
yumming it up "Under the Yum Yum
Tree." . . . Memo to G.J.: Most TV
writers get names for characters from
road maps. Examples: Warren (Ga.)
Denvers (Mass.) and Mi lion (Vt.)
Platte (S.D.). This gimmick insures
against lawsuits by people whose
names accidentally pop up in scripts.
Overhearing Things:
At launching rites
of Hugh Hefner's
ten - million - dollar
Playboy Club, hotel
and office building on
Sunset Strip — "If she wears
her neckline any lower and
her hemline any higher, she'll
have the dandiest waist-
cincher you ever saw!" .. .
At the SHARE party
— "Marty Milner and
George Maharis are
the Mary Worth and
Little Orphan Annie
of the highways." But
a little bit sexier, hmm?
Oh, the Legals, They Fly High:
In '62, TV doctors had a ball. In '63,
lawyers will get their chance. With
"The Defenders" a smash and "Perry
Mason" A-OK, new courtroom dramas
will appear on the TV scene. Two ex-
amples: Joseph Cotten in "For the
Defense" and Edmond O'Brien in
"Sam Benedict." Ed — proud papa of a
first son — has been haunting San Fran-
cisco to get the lowdown on trial tricks
of famed Jake Erhlich, after whom
the new television series is modeled.
Echoes of Emmy: Worried comic Don
Knotts frowns, "Now that I won it
again, I keep asking myself where do
I go from here?" . . . Fearful "heavy"
Peter Falk — whose emoting also won
him an Emmy award — admits, "That
walk from my table to the mike was
the loneliest, longest journey I've ever
made. By the time I reached my des-
tination, I'd forgotten my carefully
prepared speech of thanks!" . . . Mean-
while, a jobless, nameless actor moans,
"If Oscar married Emmy and they
had a thousand offspring, I still
couldn't get a job baby-sitting!" . .
But New York TV is gloating: Swank
Sardi's East has honored it — and the
Academy of TV Arts and Sciences
— with a namesake "Emmy" Room.
12
The Rising Generation: To critic
Richard Coe of Washington, D.C.,
Bob Hope was far from "Critic's
Choice" when he made personal ap-
pearances there. But Ski-Nose's 21-
year-old Tony copped raves from Coe
for his staging of a Georgetown U.
production. Young Hope — studying
law, with no itch to follow in dad's
footsteps — promptly mailed Bob the
review, kidding: "If you try to make
a comeback on my name, I'll sue!"
Quipped Dad: "Hope was never a
private name — it was always owned by
the world." . . . Gene Kelly, starring
in TV's new "Going My Way," reports
his first son — Timothy, born March
3rd — is a "born kicker, bound to be-
come a song-and-dance man like me."
1*n> »-> m-+ *»->
One Good Turntable Deserves An-
other: Latest prank is to annoy crank
neighbors by buying a laugh-and-talk
record and tuning up the speaker. It
gives the effect of a wild party — and
baffles the snoops, when they find no
parked cars or guests around. But what
if said snoops retaliate by buying a
disc with a loud siren and a police
voice saying, "You're all under arrest"?
. . Ty Hardin — with blond hair yet —
too busy playing the field to note that
is ex, Andra Martin, has wed . . . Mike
nsara's "Infidel Caesar" Broadway
ebut went blooey when the play
olded before opening. But Mike's com-
ensated. Revue's whipping up a
series for him in the medical field.
Wedding bells for Chris and Rick?
Broadway Medley: At Zero Mos-
tel's "A Funny Thing Happened, etc.,"
Sam Jaffe and wife Bettye Acker-
man had a reunion with their old pal.
"Gone Hollywood with a swimming
pool, huh?" growled Zero. Shrugged
Sam, "It's only an itsy pool — your
avoirdupois couldn't fit in it." Roared
Zero, "You have gone Hollywood! A
year ago, you'd have said 'big fat car-
cass.' Now it's avwah-doo-pwah." . . .
Lady to gent, at Jason Robards Jr.'s
"A Thousand Clowns": "What do you
like most about Robards?" Gent to
lady: "Bacall." . . . Grandma, leaving
"How to Succeed, etc.": "It isn't that
I used to enjoy Rudy Vallee more in
the old days — it's just that I enjoyed
myself more." Ain't it the truth?
Darlene Lucht with blond Ty.
Polly, Poppa & Pee-pul: "Honey, let's
sing for the pee-pul," said Bill Bergen
to daughter Polly, striking a chord on
ye olde gee-tar. And a city-slicker
crowd at the Las Vegas Dunes was
moved to cheers when they sang such
country classics as "Shall We Gather
at the River" and "My Buckteethed
Love." Proved to be the highlight of
pretty Poll's great act. "He taught me
all I know," she glowed. With the sim-
plicity that has charmed rustic crowds
in Tennessee for years, Bill answered,
"I'm proud of you, daughter." Besides
making music for the pee-pul, Bill helps
manage Polly's dress business — which
may go to 300 shops by 1963. All this
and a best-selling beauty book, too!
How's That Again? Lady lawmaker
who's trying to bar Liz Taylor from
returning to the U.S.A. — on a morals
tut-tut — is named, of all things, Blitch!
. . . Wonder horse Trigger making TV
comeback with that American institu-
tion, Roy Rogers, starting Sept. 29th.
. . . Mickey Rooney is the latest to do
a book. Does he tell all about his ex-
wives? "All that is printable," grins
Mickey. . . . Fans get their wish when
Dick Powell and June Allyson do
an all song 'n' dance show on his
series. . . . And it will be a great day
in the evening, Sept. 24th, when CBS
teams five of its stars — Jack Benny,
Danny Thomas, Lucille Ball, Andy
Griffith and Garry Moore. That's
some parlay on anybody's network.
_
Benny and Lawford swap news.
Bye Bye Buddy: Dick Van Dyke,
top banana of Columbia's "Bye Bye
Birdie," was on set when he got a
message from his answering service.
Said the operator, "One of your gag
writers must talk to you at once. When
I asked if it was important, he screamed,
'Go down the hall, pass the door
marked Crisis, then walk through the
one marked Panic. You'll see me on
the Titanic facing two icebergs!' " Dick
chuckled, "Tell him the ship won't go
down till tonight — I'll be sure to call
him then." A few moments later, she
rang back. "I told him the ship would
keep till tonight and you'll talk to him
then. Next, I heard a loud splash — and
him mumbling glub, glub, glub. Then
there was silence. . . ." That's all . . .
13
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Perhaps it was the bright spot-
lights that made Eddie Fisher blink
and then nib his eyes. Or perhaps it
was the enthusiasm and warmth of
his reception. He had only wanted
lo do his bit. And so, without any
fanfare, he had made this surprise
appearance at the annual party for
Share, a group of Hollywood wives
who stage a yearly benefit for han-
dicapped children. He had never
expected anything like this. A thou-
sand people, crowded into the Mou-
lin Rouge night club, jumped to
their feet, applauding . . . cheering.
And among all these people wel-
coming Eddie home was Debbie
Reynolds, his former wife.
Slowly, the thunderous ovation
quieted and the audience found
their seats again. Debbie fixed her
eyes on Eddie. He was smiling —
that shy, boyish grin that had not
changed through the years. Yet, in
other ways, she could see how much
he had changed. He was much thin-
ner, for one thing. And for another,
there were (Please turn the page)
BnHm
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little lines under his eyes — lines of worry and of strain —
which his deep suntan and his shy smile couldn't quite
conceal.
He said something about "what a difference a few thou-
sand miles makes," but his attempt at lightness didn't
quite come off.
A chorus of yells went up from the audience. "Sing
'Arrivederci Roma.' 'Arrivederci Roma.' Sing 'Goodbye
Rome.' "
Eddie paled under his tan and he shook his head no.
But the shouts continued. " 'Arrivederci Roma.' 'Arrive-
derci Roma.' " (Eddie had recently admitted that the title
of the song is "meaningful." He explained, "It means the
end of a wonderful love.")
Debbie, of all people, must have known what Eddie was
feeling. For it had all happened to her, too. It was all
crazy and jumbled up, as if Fate, having played a mean
trick on her, had now turned around and was playing
exactly the same trick on Eddie.
Far away and long ago, she, Debbie, had been married
to Eddie. One moment she was secure in her love for him —
and their mutual love for Carrie and baby Todd. Then
the next moment . . . the next moment, without warning,
she was sitting alone in her living room, alone although
she was surrounded by a mob of reporters to whom she
was mouthing words. Actually, she was talking to herself,
trying to explain to herself what had happened. "... I
didn't believe it until he told me himself. Then I had to
believe it."
And now it had hap-
pened again. Like a re-
make of an old picture.
New characters. New
scenes. Same plot. The
scene: Rome. The charac-
ters : Eddie Fisher and Eliz-
abeth Taylor, man and
wife. One moment Eddie
was secure in his love for
Elizabeth — and their mu-
tual love for the boys,
Mike and Chris, and the
girls, Liza and baby
Maria — a love so deep
that Eddie was able to
say confidently, "Take it from me, our marriage will last
forever." Then the next moment . . . the next moment,
Eddie is alone in a crowd of reporters to whom he is
mouthing the words, "I love her — I love her more than
ever," as if by stating his feelings emphatically he could
somehow, make her, Elizabeth, keep loving him, too.
It must be almost the same for Eddie as it had been for
her. Knocking herself out during the day on the set.
Knocking herself out at night doing benefit performances.
Killing herself so that she might kill her memories. Driving
herself mercilessly until she'd fainted on the set one day
and they'd shipped her off to a hospital.
Eddie had also been in a hospital. The papers called
it a "nervous breakdown" caused by the collapse of his
marriage. His friends had insisted he was "just plain ex-
hausted."
Eddie had also thrown himself into work, recording
songs, trying to prove to himself and the world that he
wasn't just "Mr. Elizabeth Taylor," even while disc
jockeys were announcing, "And now we'll play Elizabeth
Taylor's latest release," and then playing old Eddie Fisher
records.
Eddie had also knocked himself out to appear at the
Friars dinner in honor of comedian Joe E. Lewis even
when he just wanted to run away somewhere and hide. He
disappeared when he saw all the newspapermen waiting
for him, and then courageously came back. His face was
as white as the cloth on the head table and his hands
THE MIGHT EDDIE
{Continued)
clenched and unclenched spasmodically as toastmaster
Milton Berle introduced him from the dais: ". . . Here's a
little guy with a big voice and a big heart. We all love
him and respect him, Friar Eddie Fisher."
Eddie had spoken for less than thirty seconds. His words
hardly carried beyond the first row of tables. He'd fum-
bled with his glasses, and at one point he choked up and
could not continue.
And now, in the big ballroom of the Moulin Rouge, the
crowd was screaming for Eddie to sing "Arrivederci
Roma," a song of love and of parting, and Eddie was
shaking his head no. All at once he raised his hands,
palms out, and the crowd was silent.
Eddie wet his lips. Someone coughed. A few people
ssh-ed. Then the music began and Eddie's voice, strong
and sure, sang "You Made Me Love You." An old song.
A slow song. A sad song. A special song.
A special song for Debbie. A song Eddie used to sing
back when they first met on the set of "Athena." A special
song for Debbie. A song Eddie used to sing when they first
started dating. . . . And on their third date, the night
Eddie proposed . . . "You Made Me Love You."
A special song for Debbie. A song Eddie used to sing
when they were first married. . . . On their honeymoon . . .
in their first house together ... for baby Carrie . . . and.
later, for little Todd Emanuel. First love, unforgettable
love, unshadowed love. . . . "You Made Me Love You."
The applause broke like thunder. More than $100,000
had already been raised
for mentally retarded chil-
dren by the time Eddie
came on, but his unex-
pected appearance sparked
over thirty thousand ex-
tra dollars.
One of the guests of-
fered $500 if Eddie would
sing "Oh My Papa," and
this time he didn't falter
for a second. Confidently,
he launched into the song.
A sentimental song of a
child's love for its father
and a father's love for his
child. A sentiment Debbie
understood. She'd said, "I've brought Carrie and Todd up
to respect and adore Eddie. They will always love him as
you love only your father."
That's what had accidentally brought them together
again tonight, she in the audience and Eddie up on stage.
Their love of kids. Not only their own kids, but less
fortunate children, too.
After he finished singing "Oh My Papa," Eddie plunked
down exhausted in a seat next to Edie Adams, Ernie
Kovacs' widow. A little while later, Debbie and Harry
left, hand in hand. She couldn't stay too late. An ex-
pectant mother needs plenty of rest.
A few days later, Debbie read about Eddie's triumphant
official return to the singing stage at the Cocoanut Grove.
"Electric . . . exciting, he stopped the show colder than
a faithless wife's heart . . ."
None of the raves surprised Debbie. After all, she had
heard Eddie's voice herself a few nights before at the
Share party . . . the night when, as memories of a young
first love came flooding back, Eddie stole back into her
heart. And even in those horrible days right after they
had split up, she'd said: "... I don't know of a better
singer. God gave Eddie a gifted voice, and if I'm right,
the public is wrong if they don't flock to hear him. If a
talent can't survive and overcome something the public
doesn't approve of, then the public is wrong."
And Debbie was right. Hers was not the only heart
Eddie found his way back to that night. — James Hoffman
16
ON THE RECORD
• It's not often you'll find me writing
about someone who doesn't like to be
written about. Bobby Darin is that
someone — quite an argumentative point,
but Bobby is quite justified, generally
speaking!
Your reviewer, for one, has seen
some hopelessly misguided approaches
to Bobby's attitudes and personality in
print. You won't find me stretching
things or distorting them. Aside from
accompanying and arranging for Bobby
on occasion, I consider him a friend.
He has his edges. There are things
that bother the mildest of us, and Bobby
is no exception. Unfortunately, a per-
former's private life is public record.
This easily becomes a thorn to many
performers, who can hardly put a han-
kie to their noses without someone
starting a rumor that they are "down
with pneumonia"!
Bobby works as hard to please his
audience as any performer I've heard
or played for. His source of energy is
his desire to be as good as he can — to
develop every area he feels is native
to his diverse talents.
In the business, Bobby is what you
call "heart": If you cut his throat,
he'd figure a way to sing through the
opening. The great misconception about
Bobby is that he's a "toughie," with
little or no humility. But here I think
the surface isn't up to telling the story.
The enigma is the product and the
process. Having spent more than half
my own life in the entertainment busi-
ness, I can assure you there are easier
axes to grind. (Contrary to what some
journals would have you believe.) To
push, to drive, to open your heart — and,
in general, expose yourself to the pub-
lic — is not the easiest thing to do in life.
The process is a difficult one to live.
An awful lot of work goes into every
recording, every night-club engagement,
to say nothing of the time spent laying
things out for a television show. It's
incredibly time-consuming. (Some per-
formers turn around one day and find
that the whole of life has got away
from them during the process.)
AUGUST 1962
Bobby Scott
Music Editor
The rub is the "double standard"
forced upon performers. They must
beam, no matter how bad dinner was,
how long the band rehearsal dragged
on, or whether their child — who catches
a cold like everyone else— kept them up
all night with nursing.
There are no exceptions to the rule
that the lid has to blow off periodi-
cally. Bobby, contrary to what is said
about him in a great many cases, seems
to have a good grasp of the problems
the entertainment business has dropped
in his lap. He always knows, firmly,
what he wants in back of himself musi-
cally. He has the happy faculty of
enjoying other performers — I hasten to
add, "who are talented." Make no mis-
take that anyone who is as critical
about himself, as Bobby is, could be
easy with his peers!
He's a wealth of information and
advice. Very strongly does he hold
his opinions. Believes emphatically in
his own talent. That is the reason he
is where he is today. A sage once
said: Ten-percent talent, ninety-per-
cent sweat. Work, hard work, never
frightens those ready for it. Bobby has
always "paid his dues," to cite a col-
loquialism. He's beat the process, he
has his product.
The question that always remains is:
Do we enjoy the product, or is picking
the process apart the answer? There
are many gifts performers give heartily
and lovingly. Do we take them in, en-
joy them and reflect upon being en-
riched? Or do we want what we
shouldn't expect and what can never
be given — even by those people whose
lives are at least partially an open
book?
Entertainers are to be enjoyed. They
are not running for public office. The
height of serving is giving your best.
I've known hardly any performers who
do not hold to this. Bobby is no excep-
tion. I enjoy him immensely and you, no
doubt, enjoy him immensely. But what
you may not know is: He keeps faith
with your trust. He gives his best. And,
most important, he enjoys you, too!
T
V
R
17
Voc#f- Monthly ON RECORD Guide*
POPULAR
•••Can't Help Falling in Love,
The Lennon Sisters (Dot) — The Len-
non Sisters are competent young ladies.
Musically, their department isn't a very
difficult one, but they do inject the per-
sonal quality into what they perform.
This quality is their edge.
I don't hold with watering down the
harmonies of a Victor Young tune to
give it market value, but the girls do
not make a career out of over-dramatiz-
ing this simple approach. They always
seem comfortable. They rarely exceed
their vocal range, and that has the tend-
ency to make one tune sound very much
in the same groove as the one which
preceded it — but it also has power to
unify their total approach.
The songs are all reasonably first-
rate: "When I Fall in Love," "Moon
River" and the title tune, to mention
a few of them. The girls' musical atti-
tude is deceptive. In this package, I
think they were shooting for low-keyed,
subtle expressions. And they got them.
It's not my cup of tea — but then, again,
they're persuasive.
•••Latin and Hip, The Brothers
Castro (Capitol) — Well if you don't
think they're swinging, down Mexico
way, you'd better tune in to this album.
These chaps are really something else!
Very much in the Four Freshmen —
Hi-Lo's groove, they bring a Latin
flavor which, at the outset, seems a bit
incongruous to a lot of smart material,
but they hurdle all the obstacles. The
blend is wonderful. The highest voice
in the group has an intriguing sound
like a siren.
The harmonies they run through are
hardly simple. Rich would be more like
it. They have a very wide range of
dynamics which is shown to advantage.
The tunes are all vintage : "I'll Remem-
ber April," "Serenata," "Angel Eyes,"
the enchanting arrangement of "Sum-
lllil
y '■'■■
m^mmismium
mertime,
Terdido" — which cooks
along in a highly Latin-swing fashion.
This is a group to watch. Full of
fire, talent, capable of finding a fresh
way to do an old tune, and obviously
enjoying what they are doing to the
utmost. Ole! Olel
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•••The Best of The Kingston
Trio (Capitol "Starline")— This is a
beaut of a compilation! All the win-
ners: "Tom Dooley," "M.T.A ," "Where
Have All the Flowers Gone," "A Wor-
ried Man," "Scotch and Soda," to name
a few. See what I mean? There's
hardly much to say about these oft-
heard hits, other than that, one after
another, they are gangbusters. Humor
is here, too! (The "Merry Minuet" is
ridiculously funny.) As usual, the mu-
sicianship is first-rate.
An awfully good buy.
•Twistin' Round the World, Chub-
by Checker (Parkway) — Well, this is
the capper ! Here's a mediocre idea, done
in a mediocre fashion. For this reviewer,
nothing happens here. In fact, the band
doesn't even swing! The tunes are bru-
tally beaten into something resembling
a fourth-rate pop tune. Where the tune
cannot be so nicely fitted, we hear Chub-
by attempting to sing them in a
straighter style.
"Hava Nagela" gets a better-than-
the-rest treatment, but "0 Sole Mio,"
"Alouette," "Miserlou" and the rest
find difficult going!
•••For Teen Twisters Only,
Chubby Checker (Parkway) — Now
here we find Chubby in his own back-
yard ! This album is a cooker ! It's good
for dancing and partying. The tunes in-
clude "The Peppermint Twist," "Run-
around Sue" and a gang of others all
calculated to disarrange your vertebra.
Chubby as a performing artist is be-
yond the proper evaluation. He's sort of
an aberration on the music scene. We
shall wait, watch and see how he de-
velops.
As the Twist fades into the sun, we
may discover his talent is much bigger
than is currently being expressed. Time
tells all. For you dancin' fools, this
album has that twistin' message, so just
go and buy it and — commence to
wiggle!
CLASSICAL
••••Paul Whiteman Conducts
George Gershwin, Leonard Pennario,
pianist — "Rhapsody in Blue," "An
American in Paris" (Capitol) — The
premature death of George Gershwin
left the American musical scene in a
dither. The dither still remains, to a
degree. No American opera, in your
reviewer's humble opinion, has matched
"Porgy." The only composer on Broad-
way carrying the Gershwin mantle is
Harold Arlen. whose successes have
18
-K-K-K-K GREAT!
-K-K-K GOOD LISTENING
^C-K FAIR SOUNDS
-K IT'S YOUR MONEY
not been numerous. Of course, many
landmarks have occurred in music for
the concert hall. But Gershwin, I'm
sure — alive and growing — would have
broadened even that area.
These works, though familiar enough,
have not lost their lustre. (Particular-
ly the "American in Paris" opus.)
These pieces are permeated with blues.
Not the garden variety, but Gershwin's
own special brand. A highly sophisti-
cated type. The performances are very
good. Pennario rarely has great prob-
lems with any piano literature. (He is
certainly underrated.) Whiteman, al-
though no conductor in the classical
sense of the word, carries his end credit-
ably. The sound is good. (Mono.)
Gershwin should be in everybody's
collection. He's part of the American
dream. From the tenement to world-
wide renown in the musical world. It's
indeed unfortunate that he didn't get
the time to give us more of his personal
look at ourselves: He knew us so well.
***Romeo and Juliet Overture
and Till Eulenspiegel's Merry
Pranks, Tchaikovsky — Richard
Strauss ; Charles Munch cond. The Bos-
ton Symph. Orch. (RCA Victor) —
Charles Munch is very sympathetic in
his handling of the Tchaikovsky mas-
terpiece, "Romeo and Juliet." The nat-
ural build in the very opening is very
effectively brought off. In making the
first statement of theme material, the
strings make its meaning come to the
front through striking, articulated
playing, without a noticeable forte.
Munch also plays down the first state-
ment of the lyrical theme. All in all, it's
sensitively done.
"Till," which is possibly Strauss' most
important work, is a most interesting
orchestrating wonder. It's full of the
kind of writing only a master can come
up with. Strauss, who was a marvelous
pianist and a greatly underrated con-
ductor, knew the orchestra from many
angles. The materials never become ob-
scure, no matter how profuse the color
and action effects. Munch and the or-
chestra seem to enjoy "Till," and well
they should — it's a player's piece. If by
some chance the pieces are not in your
collection, I suggest you look into them.
JAZZ
****I Had the Craziest Dream,
Manny Albam Orch. (RCA Victor) —
This is surely one of the most charm-
ing examples of taste I've come across
in a while. It's chock-full of tidbits of
adventurous sounds, plus the jazz play-
ing of such-calibre musicians as Phil
Woods and Bob Brookmeyer, Joe New-
man and Clark Terry.
The orchestra varies from the lush
strings, sitting blanket-style and em-
bracing the saxophone of Woods, to a
shouting band fully equipped with
brass, to a smaller brass ensemble
which utilizes French horn and tuba.
The writing is all jazz-orientated, but
don't let that scare you jazz-shy people.
It also embraces the best points of the
"big band" tradition and the melody is
in evidence.
The tunes are all in the dream cate-
gory: "I Can Dream," "A Kiss to Build
a Dream On," "Wrap Your Troubles in
Dreams," "Darn That Dream" — which
features Brookmeyer's trombone and
Miriam Workman's obligato voice line,
sans lyric, and a shoutin' Woods solo.
It always says something, this album.
Good arrangements, first-rate players,
good tunes and what more can I tell
you? Manny Albam deserves his name
on the front, too! He's done a great
deal of wonderful creating and, to my
knowledge, has never received the ac-
ceptance due him. Recommended.
****Jazz Samba, Stan Getz and
Charlie Byrd (Verve) — To my mind,
the biggest jazz pleasure of late has
been the re-activated recording schedule
of Stan Getz. Though he has always
been a consistently first-rate jazz play-
er, his few years' absence from the
American jazz scene threw open wide
the doors for a whole lot of new tenor-
saxophone talent and his work was
pushed into the background.
In all honesty, Stan was, for some
time, making recordings which were
devoid of a unifying idea. Recently, he
changed direction. He recorded an al-
bum for Verve called "Focus," with a
string ensemble. (The writing was done
by Eddie Sauter.) This was his first
departure of significance in a great
while. It was all original Sauter ma-
terial, constructed tightly but leaving
room for Stan to improvise — without
leaving him the burden of sustaining
a unified whole. The writing stood on
its own. And Stan, not pressed to create
new edifices, just relaxed and floated.
It is, by far, one of the most outstand-
ing jazz albums. (Please turn the page)
t 19
ON THE RECORD
Vocjf JVforitfilv ON RECORD Guid&
20
But here we find another direction.
The Samba ! A fresh look at some Latin
music, with the added plus of Stan's
improvisation and the guitar-playing of
Charlie Byrd. This album, as con-
trasted with "Focus," is narrow. It's
essentially an improvising album. Of
course, the instrumentation of the group
and the quality of the musical material
offset the confined area. (Guitar, bass,
two drummers and Stan.)
On the whole, it's a rather enjoyable,
non-hostile jazz effort. That, in itself,
makes it unique. With so much — if
you'll pardon me — marching going on,
this flowing, warmly Latinesque, har-
monically honest and intensely lyrical
journey is a breath of fresh air. The
titles are unimportant. They are, I
gather, popular Latin vehicles. All are
charming in their simplicity. The whole
venture proves the universality of music.
Recommended.
**-fcBashin' : The Unpredictable
Jimmy Smith (Verve) — Jimmy Smith
is one heck of a talent. He is also able
to bridge the gap to the hit-record
charts. (His single record of "Walk on
the Wild Side" — which, incidentally,
was grabbed from this album — is doing
very well.)
This latest effort of Jimmy's is chock-
full of gems. One side of the album
finds Jimmy rumblin' with a big band.
The arrangements — written by a largely
underrated writer-saxophonist, Oliver
Nelson — are played brittle-bright by a
host of great jazz players: Phil Woods,
Urbie Green, George Duvivier, Joe
Wilder and Joe Newman among them.
These big-band sides include the smash-
ing "Walk on the Wild Side," "Old
Man River" and "Step Right Up,"
among others.
Side two features Jimmy's trio. This
side almost steals the show. The beau-
tiful and touchingly blue "Beggar for
the Blues" is murder! "Bashin'," the
title tune, is followed by — and I'm not
kidding— "I'm an Old Cowhand." If it
seems strange, it doesn't sound that way.
It all cooks! Jimmy is the past mas-
ter of the blues, truly the first real
"jazz giant" of the organ, and always a
pleasure and a delight to listen to.
Much of the message resides in his
own talented, flying fingers!
***The Sweetest Swingin' Sounds
of "No Strings," arr. and cond. by
Billy May (Capitol) — It appears that
when a talent like Billy May under-
takes an album — even when the mate-
rial is the worst example of Richard
Rodgers' writing — he brings it off in
that wonderful May-ish way.
Billy is one of the few arrangers
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around capable of injecting humor,
warmth, vitality, into almost every one
of his recording ventures. He uses a
big band's instrumentation as if he
had discovered it! Here we find a set-
tled feeling prevailing, with occasional
shouts from the brass. I think, though,
humor is the call for the day. And no
one exceeds Billy at that trick. Also,
herein are a few saxophone solos of
merit and the presence of the mighty
May swing!
All I can say is, Richard Rodgers
ought to be happy about this album.
His music from this show has hardly
been recorded any better. Included:
"No Strings," "Eager Beaver," "Look
No Further," "Loads of Love," and
eight more of the score. The stars are
for Billy.
*The Newest Sound Around: The
Voice of Jeanne Lee— Ran Blake at
the Piano (RCA Victor) — Anything
is to be tried once. Well, ... it didn't
happen. Here an approach quite, quite
different from what one would expect
— from a singer, plus a pianist, doing
a lot of standards — shoots out at you
trying to say something. Unfortunately,
it's a vehicle only for the "in"-people.
This album is the most successful
attempt at obscurity I've heard yet.
Modernity doesn't ever come under
indictment by your reviewer, but, oh! —
spare us this nonsense. Experiments are
solely for science. There's only success
or failure in art.
SPECIAL
****Billie Holiday: "The Gold-
en Years" (Columbia) — Billie Holi-
day is a legend because we are blessed
so rarely with artists of her calibre. The
individualism she possessed was titanic.
The circle of admirers she had includes
every jazz player of stature for the last
thirty years. Everybody loved Billie —
"Lady Day," as Lester Young dubbed
her. She hurt no one in her whole life
but herself.
She was captivating, enchanting and
irresistible. One night, your reviewer
was playing in a jazz club in the Vil-
lage, on New York's downside. I was
rambling through "Willow Weep for
Me" when I heard someone singing
-K-K-K-K C Ft EAT!
-+C-^ OOOD LISTENING
-M< FAIR SOUNDS
-+C IT'S YOUR MONEY
from a table down front. At first, I had
the feeling someone was having some
fun at my expense. Then I heard that
voice clearly and darned if it wasn't
Lady Day! Well, right then and there.
I turned the floor over to her. She
wasn't just "hamming" it up; she
wouldn't come up on the stage. Her re-
tort was that she liked the way we were
playing that tune and it was an old
favorite of hers. She sang the tune from
the table, finished it and uttered, "No
more," fearing we should feel imposed
upon.
That was Lady Day. A beautiful hu-
man being who fought a drug habit, a
frail body, and had magnified insecuri-
ties about her singing. Oh, if she only
knew how appreciated she really was —
This Columbia package of three LP's
is a marvelous compilation of the Holi-
day monuments. From "Your Mother-
in-Law" (circa 1933) with the Benny
Goodman band through to 1941 and ve-
hicles such as "God Bless the Child"—
which Billie wrote — "Love Me or Leave
Me" and "Gloomy Sunday." The band
personnel on these albums reads like a
"Who's Who in Jazz"!
You name them, they're here, com-
plementing the master improviser her-
self.
The package is a chunk of history.
A healthy chunk of inherent joy of
playing jazz in those days. The car-
ry over of the Cotton Club type of
sophistication and ornamentation, and
Lady Day in all her glory. Talking
about love — the sad kind, the light
kind, the supremely touching kind —
or bubbling along, with the jazz giants
keeping pace. For a collection to be
without these is for it to be incomplete.
Billie passed away with very little
money or hope. Her grave had no stone
to tell where the great lady rested for
a year. Fortunately, a group of people
held a benefit to raise the money for it.
It seems ironic that the people she made
so much money for were conspicuous
by their absence at her untimely death.
I treasure this package. Please go out
and listen to it. The sound is the old
sound of recordings made in the '30s
and '40s, but no advances in technology
can give you that heart: The heart of
Billie Holiday.
TOPS IN SINGLES
1) All for the Love of a Girl/Old Kentucky Home, Al Harris
(Capitol) — Both these sides are strong. The first side, "All for the Love,"
is the one that really kills your reviewer. The flip is a flying version of the
Stephen Foster classic. No singing here. Just the tacky guitar-sounding
piano with a big band. Should be a big one.
2) Bluebird/These Are the Things, Jericho Brown (Chancellor) —
"Bluebird" is the tough one. Same niche as Bobby Vee's efforts. Good ar-
rangements, good shouting! The flip is a long shot. Watch for this one.
It might take off!
3) Wonderful Land/Stars Fell on Stockton, The Shadows (At-
lantic) — "Wonderful Land" is a spacious piece bringing the quality of
the Western movie theme to light. The flip side isn't in the running. Like
our No. 1 record, this is an instrumental.
4) Please Send Me Someone/ Another Dancing Pardner, Damita
Jo (Mercury) — Both sides are very strong. In fact, it's hard to pick one.
"Please Send Me" is a blues-type shout a la Dinah Washington, but Damita
sets her own groove. And a walkin'-talkin' one, at that. Flip is country-
style at the edges, with a cute lyric. Could be?
5) The World's Greatest Man/Sweet Little Lovable You, Wink
Martindale (Dot) — "Greatest Man" is clearly the stronger. Wink does a
good job making known the fact! The flip is a fifty-to-oner. Watch "Great-
est Man" — it'll get to the hit charts.
6) Wild Flower/Express Train, Tico and the Triumphs (Amy) —
This is for the kids. They'll shove it right up high on the hit chart. The
lyric means next to nothing. "Flower" is sort of a Rocking Island song,
of the Pacific variety. The flip is a traveling song, not quite as strong.
The sound is what's happening these days. Look out.
7) Yes, My Darling Daughter/ Sonny Boy, Eydie Gorme, Don
Costa Orch. (Columbia) — All the earmarks of a big one, and Eydie's just
about due for one. The groove of "Daughter" is somewhere between "Come
On-A My House" and "Midnight in Moscow." Very strong Dixie back-
drop. "Sonny Boy," the Jolson classic, is an added plus, but "Daughter"
is the one you'll hear on radio. A goodie!
8) Second Hand Love/Gonna Git That Man, Connie Francis
(MGM) — "Second Hand Love" is in a wonderful groove, with Connie
sitting right on top the proceedings, chirpin' away! The lyrics lay well.
The tacky piano appears again in the orchestra. It's got to be a hit. Flip
hardly stands up to "Love."
9) Comin' Back to You/Mr. Hobbs, Richie Allen (Imperial) —
"Comin' Back" is the sleeper this month. Sort of raggetty-type, guitar-
playing, Western-theme-type material. I get a funny feeling listening to
this. It keeps saying to me, "I'm gonna sneak in there." And well it
might. Richie plays in the singing-guitar style. The background is nothing
to shout about, but the melody has a charm. Flip is out of the running.
10) "Route 66" Theme/Lolita Ya-Ya, Nelson Riddle Orch. (Capitol)
— With all the exposure "Route 66" gets, anyway, this could mean some-
thing. But the big side is "Lolita." Perfect for the market — right down
to the chorus of girls' voices, cooking drums, clanging guitars and the
repetitive theme. Ding-dong!
21
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1. Ann Bly+h, Debbie Reynolds (did you
recognize her?), Marge Champion at
the Thalian circus. 2. Tony Dow dating
Brenda Scott. 3. Mr. and Mrs. Law-
rence Welle meet Jay ("Dennis the
Menace") North. 4. Judy Garland,
who fled to London with Liza, Lorna
and Joey, now faces a custody fight.
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5. Back from Europe, Connie Francis twists with Johnny
Holliday, Joey Dee, Hank Ballard. 6. Jane Powell and Pat
Nerney on family outing with Mono, Suzanne, Lindsey,
Geary. 7. Rick Nelson's serious about Chris Harmon; Ozzie
and Harriet approve. 8. Tommy Sands struts his Actors'
Studio stuff in summer stock. Is that a "method" kiss?
'
h
"I don't want to sound pom-
pous or stuffy," said "Pajama
Game's" Richard Adler, man-
aging to sound both pompous
and stuffy, "but the Madison
Square Garden show to raise
money for the Democratic Par-
ty is another way of doing
something for my country —
outside of military service.
And I've already done that."
Showbiz always takes these as-
surances with a grain of salt.
. . . Time and again, ambi-
tious people of showbusi-
ness have worked every
shrewd angle to establish
such a White House con-
nection. They covet it for ob-
vious social and professional
bonuses. ... So I would urge
Pierre Salinger, now that he's
returned, to tone down Adler.
For instance, one star asked
Adler to change the star's re-
hearsal period at the Garden
because it conflicted with his
t TV rehearsal schedule. Thun-
* dered Adler: "Is a TV show
more important?" Said the
star, simply: "Uh-huh." . . .
Vince Edwards to wed
Sherry Nelson. . . . Dave
Garroway and Betty Furness
resumed. . . . Eydie Gorme —
Steve Lawrence named him
Michael. . . . Vicki James,
daughter of Betty Grable and
Harry, and Keely Smith's bro-
ther, Buster, bustin' out all
over. ... A son for the Harry.
Guardinos. . . . Ann Sothern
and Bill Frye a duet. . . . Clif-
ford Odets and Susan Oliver
serious. . . . Johnny Mathis ser-
enading Miriam Colon. . . .
George Maharis and Inger
Stevens something new. . . .
Mrs. Johnny Carson getting a
Mexican divorce. ... As re-
sult of his smash, Louis Prima
and Basin Street East ok'd
$240,000 three-year deal. . . .
Back in the early 1930s when
I booked Louis Prima and his
band for his first stage date at
Loew's State, he always
showed plenty of moxie. It's
this same type of courage that
enabled Prima to stage his
fantastic hit at Basin Street
East. That, plus his uncanny
instinct for selecting unknown
vocalists who promptly be-
come sensations. . . . James
Stewart gets Art Carney
flicker role of "Take Her,
She's Mine." . . . Mort Sahl
and Anna Kashfi a twosome.
. ... The Arnold (Bess Myer-
son) Grants back from Euro-
pean honeymoon. . . . Lori Nel-
son Mann named the baby
Lori. . . . Bob Hope's son,
Tony, set for Harvard. . . .
Doris Day's son, Terry, and
Candy Bergen, Edgar's daugh-
ter, an item. . . . Millie Perk-
ins and Dean Stockwell sepa-
rated. ... As you read in the
gazettes, after Spyros Skouras
had shown the rowdyish 20th
Century-Fox stockholders
twenty-one minutes of "Cleo-
patra," predicted a $100 mil-
lion gross, and sketched the
expected harvest of Zanuck's
"Longest Day," the stockhold-
ers re-elected him as prexy.
. . . Facing an operation.
Skouras nevertheless taxed
himself with five trips to Eu-
rope to keep Liz from quitting
the picture — then underwent
surgery here at St. Luke's. . . .
The Red Wests expecting
(he's Presley's stand-in). . . .
Anne Bancroft prefers Mel
Brooks. . . . Jackie Gleason
lost 45 pounds. . . . Carol
Burnett and Richard Cham-
berlain at Jilly's. . . . The Mike
(Laraine Day) Grikhiles ex-
pecting. . . . Hugh O'Brian
switched to Dorothy Towns.
. . . Robert Frost up for the
1962 Nobel Prize. . . . "Gun-
slinger's" Madlyn Rhue and
Tony Young to marry. . . .
Raymond Massey's daughter,
Anna, and husband Jeremy
Brett derailed.
Published by permission of
the Chicago Tribune — New
York News Syndicate Inc.
24
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One look at TV's top doctors and the diagnosis is obvious :
They're headed for the altar — and they're finding that
half the fun is getting there ! Just turn the page and see !
SPECIAL T-PAGE SECTION
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The GBrD Dock
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A one-line item in a gossip column started the hottest rumor in Holly-
wood. It also started a panic at the M-G-M studios where "Dr.
Kildare" is filmed. Dick Chamberlain, it said, (Please turn the page)
w
First Photos!!
The GGrD Dock
Tried Tfo Me
A one-line item in a gossip column started the hottest rumor in Holly-
wood. It also started a panic at the M-G-M studios where "Dr.
Kildare" is filmed. Dick Chamberlain, it said, (Please turn the page)
■
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has been secretly married for more
than a year. If the item was true,
there was no doubt who the girl
was: She had to be Clara Ray.
The studio was having a cor-
porate nervous stomach as it
moaned over the effects of having
its new TV idol caught in a lie.
Executives still haven't quite re-
covered from the Yvette Mimieux
caper. The same gossip column
itemed, over a year ago, that she
was secretly married. She had de-
nied it, but the item turned out
true.
TV RADIO MIRROR knew that it
was possible — even if not probable
— that Dick and Clara were already
married. Our double-checking sys-
tem sprang into action. First, we
tracked down Dick; we found him,
still sleepy-eyed, reporting to the
studio makeup department for an
early-morning call.
We put the question to him
bluntly: "Are you and Clara mar-
ried?" Dick woke up fast. "Are you
serious?" he asked. We showed
him the item. He stared at it for
a long moment; then he broke into
laughter.
"It doesn't mention our chil-
dren," he said between guffaws.
"This item is hilarious. It's ridicu-
continued
lous." He was still laughing.
Then, turning absolutely seri-
ous, he said, "There is no truth
to it whatsoever. I wonder why
they'd print such a thing. They
didn't check with me on it. When
I get married, the whole world will
know."
Clara, too, denied the rumor, al-
though she didn't think it was
Rumor panicked everyone but Dick and Clara.
28
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funny — even at first. She seemed
puzzled as to why anyone would
print such a thing without check-
ing first. Her parents, as well as
Dick's, maintained that no knot
had been tied.
A spot-check of the marriage
license bureaus also failed to pro-
duce any basis for the item. "Dick
has taken out a license all right,"
one of his buddies cracked, "But
it was a driver's license."
Another close friend and TV as-
sociate, Chuck Painter, remarked:
"If Dick got married, it must have
been in his sleep. I have been with
him constantly since he became
'Dr. Kildare.' I know where he lives.
I know where Clara lives. It's not
the same address."
TV's hottest rumor checks out
as false. The romance, though, is
very much for real. It has been
going on for some time — secretly
— but, on the night of the Academy
Awards, Dick brought it out into
the open for the first time.
He held Clara Ray's hand tight-
ly as they stepped out of a limou-
sine in front of the Santa Monica
Civic Auditorium. Pandemonium
broke loose. The thousands of
spectators screamed wildly. The
photographers' flashbulbs popped
like machine-gun fire. Three high-
school girls sitting together in the
bleachers stretched forward for a
better first look at Dick and Clara.
They stretched too far, and started
to fall to the ground six feet below.
Two police officers grabbed them
just in time. It was truly the big-
gest reception of the night for any
star.
Those meeting Clara for the first
time that night were quick to agree
that Dick was a mighty lucky man.
Even in a crowd of beautiful act-
resses, she was outstanding. Clara,
though, is no actress and doesn't
want to be one. The twenty-one-
year-old brunette has devoted
years to preparing for a singing
career. She prefers opera, but a
year ago appeared at the Statler
Hilton Hotel as a pop singer and
later toured with Marie Wilson's
nitery group.
It was singing, in fact, that
brought Dick and Clara together.
Nearly three years ago, Dick re-
ported for the start of a singing
course at the Los Angeles Con-
servatory of Music. At first, he
hardly paid any attention to the
girl sitting across the room. She
was just another student in the
class conducted by Carolyn Tro-
janowski.
However, as the weeks, months
and then a year passed, Dick be-
came fascinated with her talent —
and her beauty. They found they
had much in common: A hungry
appetite for the arts, an apprecia-
tion of the outdoors. They sipped
coffee and chatted during class-
room breaks; they took long walks
together.
Then Clara had to go on the
road with a show and, overnight,
Dick found himself a public idol
as "Dr. Kildare." Yet they never
irifted too far apart. Dick con-
They have a secret that keeps them smiling.
tinued to study twice a week at the
conservatory.
Suddenly, last September, they
discovered it could be love. They
appeared in a duet number at one
of the showcase performances that
the school stages once a year. It
wasn't the first duet they had sung
together, but after that night their
dating was on a steady basis.
Few knew about it, though. They
never appeared in night clubs or
at premieres. They enjoyed spend-
ing what free time Dick had from
filming at Malibu, walking hand in
hand along the beach, or hiking
in the Santa Monica Mountains.
Or they would throw a small party
for school friends. Or Dick would
put on the horn-rimmed glasses
he uses as a disguise and they
would go to a movie or an opera.
Success is still very new to Dick,
and he often feels embarrassed
when autograph hounds catch him
in the middle of shopping for cold
cuts or buying toothpaste at the
corner drugstore in the usual way.
Clara, too, is unpretentious.
Her background is similar to
Dick's. Although born in Memphis,
Tennessee, she is practically a na-
tive of California (Dick is). Her
parents moved to Eagle Rock when
she was but a child. At Eagle Rock
High, it became obvious to her
classmates that she was someone
special. She was the most popular
girl in her class. The boys did
everything but walk a fence, Tom
Sawyer-style, to carry her books.
She wasn't the least bit impressed.
She dated whom she pleased,
whether he was a football hero or
the shy intellectual in her English
class.
Clara was a good, conscientious
student. She even found time be-
tween studying and voice lessons
to participate in the drill team
pageantry at all athletic events.
When she graduated, she went on
to Glendale City College. In 1956,
her beauty and charm won her the
title of Homecoming Princess.
Yet nothing she had ever known
could prepare her for the night of
the Academy Awards when she
stepped into the near-hysterical
limelight with Dick.
"I thought my dress was slip-
ping off," she confided to Dick
later. "I kept tugging it up. Then
I realized it wasn't the dress at all.
It was my knees. They were shak-
ing so badly my gown was like a
hula skirt."
Clara frankly confessed that, if
it weren't for Dick's arm around
her waist, she would have fallen
flat on her face. When the night
was over, she couldn't sleep, she
was still so tense with excitement
from the crowd's overwhelming
reception. Dick, too, tossed and
turned the entire night; it was his
first glimpse (Continued on page 86)
29
# •
% •
When Vince Edwards and Sherry Nelson are
together, they seem to light up as if they were
hearing bells -wedding bells. But for Vince,
this is not a new sound. There was that girl
in Japan, for instance, with whom he came
so close to marriage ... And now? "I'm think-
ing of getting married," he admits. "I go
steady with a girl who is for marriage. That's
natural. She's a woman." Vince is for it, too.
-After all," says his best friend, "why else
does a single fellow keep dropping in on a
married guy with kids?" We think this
friend has the best answer so far to: "When's
the wedding?" For his story, turn to page73-
f
■ *■">
\-#
f
A reporter, something of an eager beaver, once asked the Lennons, "Have you ever
felt that God's thumb had been turned down against you?" The singing sisters
stared at him helplessly. They were a little shocked. Their father, Bill, smiled
and intervened. "Why should they feel that way?" he said. "They haven't been
taught to think of God as a Nero deciding life and death with His thumb. We Len-
nons don't believe God plays games with the souls of people. If good things come
Why do we pray? What do we believe?
The Lennon Sisters — Peggy, Kathy and Janet-
get some frank answers from their father
THE DAY GO
32
our way, we're thankful for the blessings . . . but if something bad should happen,
I'm sure we'd all take the view that there was a reason for it. We don't blame God
and we don't argue with Him. ..." As a family, the Lennons would rather live
their religion than talk about it. Sure and strong in their Catholic faith, tljey
try to mingle devotion to the Church and observance of its rituals with, humility,
tolerance and joy. It is forgotten now which of the (Continued on page 87
^Pti*^-**J
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ANSWERED NO
At the swank Port St. Lucie Country Club, Florida folk stared in surprise
This wasn't the Como they'd expected to see! He seemed so different ... off TV.
35
At the swank Port St. Lucie Country Club, Florida
f olk stared
in surprise
JJMM
This wasn't the Como they'd expected to see! He seemed so different ... off TV.
Slamming the ball more than two hundred yards, he permits himself the luxury of a smile.
STOPPED
"Nice guys finish last," said Leo the Lip. Less pessimistic prophets
like to point to Perry Como as proof that it doesn't have to be so. It
might be true in dog-eat-dog professional sports — but it couldn't be
true of the ace song pro known as "the nicest guy in show biz."
Per hasn't finished last for years . . . and watching him play golf
down Miami way, you begin to understand why. "Nice guy," eh? There's
nothing wishy-washy about this star in action! No casual shrugs when
the ball just lips the cup ... no meek apologies. Here is a man who
lines up every shot in deadly earnest . . . who whacks every drive as
though sailing into a mortal enemy . . . who shoots a sizzling 78.
This is Perry Como?
Yes, this is Per today ... the same guy who looks so relaxed on TV —
after he's lined up every shot in hard-working rehearsal. He may have
been "just a nice guy" once. That's when he had his failures. Now he
knows: You have to play-to-win ... in your career, as well as any game!
36
Just a game? Perry Como is obviously going for broke!
Slamming the ball more than two hundred yards, he permits himself the luxury of a smile. ^
STOPPED BEING A
"Nice guys finish last," said Leo the Lip. Less pessimistic prophets
like to point to Perry Como as proof that it doesn't have to be so. It
might be true in dog-eat-dog professional sports — but it couldn't be
true of the ace song pro known as "the nicest guy in show biz."
Per hasn't finished last for years ... and watching him play golf
down Miami way, you begin to understand why. "Nice guy," eh? There's
nothing wishy-washy about this star in action! No casual shrugs when
the ball just lips the cup ... no meek apologies. Here is a man who
lines up every shot in deadly earnest . . . who whacks every drive as
though sailing into a mortal enemy . . . who shoots a sizzling 78.
This is Perry Como?
Yes, this is Per today ... the same guy who looks so relaxed on TV
after he's lined up every shot in hard-working rehearsal. He may have
been "just a nice guy" once. That's when he had his failures. Now he
knows: You have to play-to-win ... in your career, as well as any game!
36
Just a game? Perry Como is obviously going for broke!
"NICE GUV"
37
Efrem Zimbalist saw her first . . .
Efrem Z. makes
The dilemma of Peggy McCay
When the triangle first took shape, 'twas the night
after Christmas. And all through the house, creatures
were not only stirring — they were Twisting! . . .
The "house": Romanoffs. The date: December 26, 1961.
The Twisters: Just about all the stars at the gala
post-premiere party for Warner Bros.' "A Majority
of One." . . . That's when Peggy McCay saw her
chance. Peggy had plenty going for her. She'd been
cast as the mother on ABC-TV's "Room for One
More," and tonight she was out on a date with Efrem
Zimbalist Jr. Now, Efrem is the calm, gentle-
manly, pipe-smoking catch of a lifetime, as any self-
respecting spinster knows. And Peggy had him all
to herself. . . . But was she content to count her blessings?
No! You see, beneath the lady-like veneer she wears
on the screen, Peggy McCay harbors a secret vice:
Get her near a dance floor and the lady just has
to Twist. . . . She looked at Efrem, who was sitting
contentedly across the table from her, a mildly
amused expression on his face as he watched his fellow
actors make pretzels of themselves. Obviously he
didn't have any intention of asking her onto the dance
floor for this number. Peggy looked at the Twisters,
who were gyrating happily to the wild music, and sud-
denly her feet started itching and her hips started
twitching. Almost before she knew it, she found herself
asking Efrem: "Say — how about it?" ... He took
his pipe out of his mouth, looked at her with just a
hint of surprise and — {Continued on page 78)
But he wont twist, audi
38
her heart stand still
Then she saw Rohert Q. Lewis!
obert Q. witll
f
GRACIE ALLEN:
xjLHI a
Too Sick
To Know
The Truth
About
My S on? *
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40
The news stunned George Hitrns and Grade
Like the others on the tranquil block in Beverly Hills,
it's an older home. Like the others, it has been superbly
maintained throughout the years. One warmish day this
past spring, a woman peered bright-eyed out the large
picture window of its spacious living room. The rosebuds
in the garden yawned to a cloudless sky. The violets bor-
dering the driveway were in full bloom. The leaves on the
trees fluttered in a slight breeze.
Truly, it was a gorgeous day. The woman in the big
house had enjoyed many splendid days. Ones filled with
love, happiness and success. Ones devoted to her family.
Ones devoted to her husband. Ones devoted to her career.
Gracie Allen indeed has had a fruitful life. But that
day, when she turned from the window — and the past —
she found herself face to face with the problems of the
present.
Ironically, that same week, her daughter Sandra had
announced that her second marriage had failed. She was
getting a divorce. The day before, Gracie had picked up
a newspaper only to read that her son Ronnie was planning
to marry a girl she had met only casually. There was a
time when Sandra and Ronnie Burns relied on their
parents for advice. No longer. Somehow, they had drifted
away. They no longer shared their confidences.
On February 19th, 1958, Gracie Allen had announced,
with much emotion, that she was retiring from show busi-
ness. The team of Burns and Allen would be no more.
The reason she gave: "I want to have more time to see
our children . . . our grandchildren."
This undoubtedly was a prime factor for her retirement.
Another was her health. Associates at the time confided
"off the record" that Grade's health was slipping. A
year ago, she entered Mt. Sinai Hospital in Los Angeles
for what George described as a "virus condition." How-
ever, friends whispered that it was her heart.
Of late, Gracie seldom ventures far from the confines
of her home. She's still as witty and charming as ever,
friends say, but she's not up (Please turn the page)
41
tanned George Hum* find Grade.
i,/ r: -„..;..
GRACIE ALLEN:
"Ami
Too Sick
To Know
The Truth
About
My Son?"
40
L.ke the others on the tranquil block in Beverly Hills,
"t'8 an older home. Like the others, it has been superbly
maintained throughout the years. One warmish da> thil
past spring, a woman peered bright-eyed out the large
picture window of its spacious living room. The rosebuds
in the garden yawned to a cloudless sky. The violets bor-
dering the driveway were in full bloom. The leaves on the
trees fluttered in a slight breeze.
Truly, it was a gorgeous day. The woman in the big
house had enjoyed many splendid days. Ones filled with
love, happiness and success. Ones devoted to her family.
Ones devoted to her husband. Ones devoted to her career.
Gracie Allen indeed has had a fruitful life. But that
day, when she turned from the window— and the past-
she found herself face to face with the problems of the
present.
Ironically, that same week, her daughter Sandra had
announced that her second marriage had failed. She was
getting a divorce. The day before, Gracie had picked up
a newspaper only to read that her son Ronnie was planning
to marry a girl she had met only casually. There was a
time when Sandra and Ronnie Burns relied on their
parents for advice. No longer. Somehow, they had drifted
away. They no longer shared their confidences.
On February 19th, 1958, Gracie Allen had announced,
with much emotion, that she was retiring from show busi-
ness. The team of Burns and Allen would be no more.
The reason she gave: "1 want to have more time to see
our children . . . our grandchildren."
This undoubtedly was a prime factor for her retirement.
Another was her health. Associates at the time confided
"i>ff the record" that Grade's health was slipping. A
year ago, she entered Mt. Sinai Hospital in Los Angeles
for what George described as a "virus condition." How-
ever, friends whispered that it was her heart.
Of late. Gracie seldom ventures far from the confines
of her home. She's still as willy and charming as ever,
friends say. but she's not up [Phase turn the pag,e\
"Am I Too Sick To Know The Truth About My Son?
continued
going to night clubs and parties.
George Burns is still as active
as ever. He puffs away at his
cigars. He can exchange barbs
with the best of them, whether
it be Jack Benny or George Jessel.
His Las Vegas appearances have
been satisfying. The first time he
appeared on Crap-table Row, he
brought a young male singer with
the egotism of Frank Sinatra and
Jerry Lewis combined. His name
was Bobby Darin, and it was
George who introduced him to
success. On the same stage, at a
later engagement, he did the same
for young Ann-Margret.
Both Gracie and George had
tried to launch Ronnie on an act-
ing career. They cast him as their
son on the TV show and the idea
was an overnight hit.
George once confessed that he
had more than one reason for
putting Ronnie in the show. "I
wanted to give him something to
do," George said. "I didn't want
him to turn into one of those
beach bums. He was spending too
much time at Malibu with his
friends."
George and Gracie had reasons
for their concern. In the winter
of 1956, Ronnie was involved in
an accident that resulted in a
$60,000 suit being slapped against
his parents. He was only twenty
at the time, so they were still
liable for his actions. The fol-
lowing year, he was arrested for
speeding at 85-miles-an-hour in a
25-mile zone. When it came to
driving, Ronnie seemed to think he
was on the Indianapolis Speedway.
a»
X
Gracie's retirement meant the
demise of the TV show. Then,
when Ronnie decided acting wasn't
for him, they gave him another
break — a job as an executive in
their TV production company.
They installed Sandra in a similar
job.
Ronnie, some say, began to drift
back to his old habits. He liked
to have fun. His handsome fea-
tures and good build made him a
sought-after bachelor. Two years
ago, he came very close to marry-
ing a Las Vegas showgirl whom
he'd met while at the resort with
his father. George even indicated
that he and Gracie approved of
the match. However, there was a
quarrel and the two split up. She
later married someone else.
Ronnie came even closer to mar-
riage this spring. At first, his dates
with Helen DeMaree seemed strict-
ly platonic. After all, she was mar-
ried to Steve Crane, who owns
the Luau restaurant and was once
wed to Lana Turner. (He is the
father of Lana's troubled young
daughter, Cheryl.)
Ronnie always has been one of
the Luau's best customers and
Steve was his good friend. So it
appeared perfectly natural that
Ronnie should dine with Helen
at the Luau when Steve had to
fly East on business. Sometimes,
when Steve was home, the three
dined together.
This arrangement was short-
lived. Soon, Ronnie and Helen
began to be seen together at other
places besides the Luau. They
made a (Continued on page 96)
42
Ronnie, Helen DeMaree,
Steve Crane were deep in
a triangle. Sandra (at bot-
tom) had bad news, too.
eco,
Want to bring romance back into your mar-
riage? To "insure" happiness till-death-do-you-
part? Don't ask the couple who've never had
a quarrel, "never been separated for a single
night" ! The lovebirds who really know are those
who've felt the pain of long separation — even
divorce — and somehow found the way to rebuild
a broken marriage stronger than it was before.
Hollywood has many who found out "the
hard way" . . . and maybe, listening to them,
you can prepare for a soul-satisfying second
honeymoon while still cooing (or crying) over
the first! Some of their answers may amuse you
— surely, your disagreements aren't as silly as
theirs? Some may stir you with a sudden sense
of recognition. But all are the real stuff of life
and love . . . and all quite different from the
things they'd have told you in earlier days.
Take a peek into the living room of a ram-
bling California home. See those blood-red
flowers entwining two white hearts? Though
the stems droop slightly and some petals have
fallen, the message they convey will linger in
this room long after the flowers have faded. . . .
A two-year-old toddler named Michele reaches
out toward them. "No, no, darling," says her
mother, Colleen. "Mustn't touch. Those are
Mommy's present." The (Please turn the page)
continued
tiny hands drop obediently. "Dad-
dy?" the light voice queries. "Yes,
sweetie, Daddy gave those to Mom-
my," says Colleen, her glance flying
to the face of her husband across the
room. For a long instant, their eyes
meet in intimate awareness. . . .
Jimmie Rodgers is first to break the
silence: "Sometimes it's hard to be-
lieve all this happiness is ours. Colleen
and I are living a second honeymoon.
Our first honeymoon was wonderful
Jimmie and Colleen Rodgers
ing that troubles and disagreements
may exist but they can't basically
change your love for each other —
provided you have a strong founda-
tion of love and mutual respect to be-
gin with." Colleen nods in solemn,
shining agreement.
"We've been lucky that we found
our way back," says Jimmie. "Col-
leen's recent serious illness has taught
us the important values and made
us realize that life means nothing for
June Allyson and Dick Powell
singing 'Love Is Wonderful, The Sec-
ond Time Around.' It has been won-
derful for us."
Jimmie and Colleen belong to a
large army of Hollywood couples who
decided they wanted "discharge pa-
pers" — only to discover, after lonely
months apart, they had a strong de-
sire to sign up for another hitch!
The cause of each couple's original
strife may have been different . . .
but all pairs have one thing in com-
Carl Neubert and Ruth Warrick
|joX0? $Pib Wjm 00 ^ 2 ^ ^ h&Vfe keeU c b ^ } yd
— but it can't compare with this one.
Between them were long, dark months
of knowing what it is like to do with-
out each other. We've known loneli-
ness and we've known heartache — " a
shadow of that pain crosses the faces
of both husband and wife — "but it
has all been worthwhile . . . for we've
learned what marriage is really all
about.
"Marriage is not the physical at-
traction, the passion, the glamour that
first attracts you to each other. It's
understanding your mate and realiz-
either of us if we're not together. We
know now that, regardless of the
adjustments we might have to make,
we belong together.
"When Colleen and I decided to
dissolve our marriage, the tensions
and disagreements had built them-
selves up all out of proportion. My
traveling was an almost-constant
source of irritation to us both — and
when we were together, we were like
two strangers having to become re-
acquainted all over again." He grins
shyly as he adds, "Now I feel like
mon: They learned that, for them,
separate life is no life. By returning
to the mate they once thought they
could discard, they found that, truly,
the second honeymoon was richer
and sweeter than the first.
It took Jane Wyman and her hus-
band Freddie Karger seven long years
to learn this lesson. Why did they
part? At the time of their separation
— just two years after the wedding —
Jane explained what had gone wrong:
Little things had mounted up ... a
major annoyance, for her, was the
44
late hours Freddie stayed at the
studio to rehearse his band ... in
two brief years, love's first violent
storm of passion had been becalmed
in a sea of dull monotony. . . .
Today, the Kargers radiate seren-
ity and peace — together. "We've
found," says Freddie, "there was a
way to keep our romance alive. Now
we look for the positive things in
each other, rather than try to find
the flaws all humans possess." And
stead of sliding along with the bad
habits we cultivated, we've had a
chance to back off and think about
the things that really matter. Now
we both really work at our marriage.
I know Dick is trying much harder
and hasn't allowed his career to be-
come the all-consuming monster it
once was.
"I suppose many couples reach
the point where they can no longer
talk to each other ... sit down and
a home outside Hollywood ... a
woman's tendency to feel neglected
as romance gives way to her hus-
band's absorption in business when
the first honeymoon is over. After the
second one, a woman seems better
able to accept the fact that her man's
career will always be a tempting,
time-consuming mistress . . . and a
man realizes that success doesn't
mean much without the personal hap-
piness he can enjoy through a better
Frank Lovejoy and Joan Banks
Jane Wyman and Freddie Karger
Carlyn and Mickey Callan
aspeebscL-lh,© gee^a, mat| he jUsfc fcfe tpi rieeoL!
Jane adds, "Our years apart taught
me how wrong I was to think that
marriage would always be a honey-
moon — without tensions, without
moods! I know now that much more
goes into marriage besides romance.
We're each trying harder to compro-
mise and to understand the other
one . . . and our effort has paid off
in a deep and lasting relationship."
Positive thinking also paid big divi-
dends to June Ally son and Dick
Powell. "Our separation was the best
thing for us both," June says. "In-
discuss the frictions driving them
apart. Small troubles magnify until
you're sure you've lost all the love
between you. I know now — we both
know — how much we've gained . . .
we've thrown away the resentments
and bitterness, and we've found the
one thing that really counts: Being
together. Life alone was bleak and
worthless."
The Rodgers, Karger and Powell
break-ups had a common denomi-
nator: Explosions stemmed from the
spark which causes friction in many
balance between business and pri-
vate life. "Adjustment" is the key to
solving the age-old problem of man
and woman living together happily.
It can be an elusive key in show
business — or, indeed, in any mating
of the young, the ardent, the strong-
minded.
The marriage, separation and rec-
onciliation of Mickey and Carlyn Cal-
lan is a case of two fiery, independent
individuals who had to learn how
to keep each other's love while
not losing (Continued on page 92 1
45
If you've ever looked at your husband and thought,
"HE'S NO BARRYMORE..."
think
look again!
In 1952, Cara Williams became
Mrs. John Barrymore Jr. It was a
strange marriage from the very be-
ginning — and very different from
Cara's happy domesticity on TV's
"Pete and Gladys." In a way, the
Barrymore marriage was written in
headlines and front-page newspaper
photos. But, in a deeper sense, the
real story has never been told pub-
licly until now. . . .
"Things were always bad for
Johnnie," Cara said thoughtfully, as
we talked over supper at a dimly-
lighted table at Trader Vic's in Bev-
erly Hills. "If things went right, some-
thing would always go wrong, be-
cause he made it go wrong. And the
pity is that he didn't realize it. He's
a wonderful boy, and it's pretty sad
to think about what happened to
him.
"Johnnie was born under a trag-
edy. He was the son of two famous
parents — his mother was the movie
star, Dolores Costello — but this
brought him no happiness. He was
always being sent off to schools,
where he was beaten up, and he saw
his father only once. He was told
very little about his family, really.
You
don't know
how lucky
you are!
He hardly knew any of them. I
he saw his Uncle Lionel for exactly
a week, and Lionel never really talked
to him. Then, while Johnnie was
still a child, his father died."
She frowned. "When Johnnie tried
to make an acting career for him-
self, he found that he was always
being compared to this great man
who had died years before. It was
an impossible situation. He was con-
stantly being put in the position of
having to prove himself — of having
to prove that he wasn't trying to live
off the Barrymore name."
Naturally, John resented this, and
occasionally he lashed out in a re-
bellion which only made things even
worse. "Every time he got so much
as a speeding ticket, it was on the
front page, because he was a Barry-
more. His smallest mistake would be
magnified. Even today, the same situ-
ation exists, and it's responsible for
many of his problems."
When Cara married him, she tried
to change things. "I wanted him to
forget all the Barrymore publicity
and the comparisons, and start a
life of his own. Although I'd been
a pessimist (Continued on page 93)
46
Cara Williams talks frankly about
her two Barrymores (facing page) :
husband John II and son John III.
iiv's tost his iiM/'i'iaff*' ... unit . 3like La n don fia
"I 3 m their
father
till the day
they die...
or I die! 3 *
*avt> his sons
As reluctant as he may be to do so, Mike Landon is
forced to ask himself the question every parent dreads:
"Am I an unfit father?"
It is a question he cannot avoid. Only weeks after
adopting his third son, Mike and his wife Dodie sepa-
rated. Then, shortly after, in a Los Angeles court-
room, Mike was named co-respondent in a cross-
complaint to a divorce suit. Mannie Baier, a sales
representative for a clothing firm, charged that he
was not the father of the child expected by his actress-
wife, Marjorie Lynn. He named Mike as the "other
man." As we go to press, neither Marjorie nor Mike
has had a chance to answer these charges.
It is a curious side of fatherhood, however — and
perhaps Mike will derive some comfort from it — that,
usually, only fit fathers have the courage to question
themselves and their rights to their children. The real
cruelty of Mike's situation is the fact that his role as
a father has so little to do with the actual circum-
stances that push him into this anguished self-
examination.
In the beginning, marriage for Mike Landon and
his lovely Dodie was an exciting and emotionally
rewarding experience. But, as in so many marriages,
as the years passed Mike and (Continued on page 82)
Hf'H lost his marriage. . . now. Mike i.andon flgw P* 0w * *f# *o«*
**/'m their
father
till the day
they die...
or I die!"
As reluctant as he may be to do so, Mike Landon is
forced to ask himself the question every parent dreads:
"Am I an unfit father?"
It is a question he cannot avoid. Only weeks after
adopting his third son, Mike and his wife Dodie sepa-
rated. Then, shortly after, in a Los Angeles court-
room, Mike was named co-respondent in a cross-
complaint to a divorce suit. Mannie Baier, a sales
representative for a clothing firm, charged that he
was not the father of the child expected by his actress-
wife, Marjorie Lynn. He named Mike as the "other
man." As we go to press, neither Marjorie nor Mike
has had a chance to answer these charges.
It is a curious side of fatherhood, however — and
perhaps Mike will derive some comfort from it — that,
usually, only jit fathers have the courage to question
themselves and their rights to their children. The real
cruelty of Mike's situation is the fact that his role as
a father has so little to do with the actual circum-
stances that push him into this anguished self-
examination.
In the beginning, marriage for Mike Landon and
his lovely Dodie was an exciting and emotionally
rewarding experience. But, as in so many marriages,
as the years passed Mike and (Continued on page 82)
ARE YOU
LOSING OUT
THE
BEST THINGS
50
Ted Mack tells you ^y ways to b
e a winner
Jackie Kennedy . . . Mickey Mantle
. . . Connie Francis . . . Cary Grant.
Imagine a more unlikely quartet if
you can! Yet they all — First Lady,
baseball player, singer, and actor —
have one thing in common: They're
stars, all of them, in their own fields.
Of course, not everyone really wants
to live in the White House, or play
centerfield for the Yankees. Not even
everyone wants a career in show busi-
ness, though Ted Mack — who's pre-
sided over the auditions of more than
a million would-be performers — some-
times finds this hard to believe. But
everyone wants to be a winner — a
"star" in his own particular world.
How do you get that way? What's
the big secret?
In the more than twenty-five years
during which he's been connected with
"The Original Amateur Hour," the
eteran showman thinks he's learned
lost of the answers. From among the
teen hundred aspiring amateurs
auditioned weekly throughout the
>untry, he and his staff, he says, can
almost unerringly spot those who
lave it." And before the ballots have
been counted after each Sunday after-
soon show, he has "a good idea" of
cho will poll the most votes. They
goof now and then, he admits. Elvis
Presley, for one, was passed up at his
audition and didn't even get on the
show. "We didn't know then what
rock 'n' roll was," Mack grins.
First of all, there's that all-impor-
tant ingredient which has never been
quite definable. Usually called "star
quality," it's the thing that sets Mari-
lyn Monroe apart from zillions of other
curvy blondes, and makes millions of
people stay up late to watch an old
Garbo movie. The astute showman
describes it as "an inner strength, a
spark," and he cites Frank Sinatra,
an "Amateur Hour" alumnus, as an
example. "He has great talent and
virility," says Mack, "and when he
comes out on a night-club floor there's
a magnetic thing there which has noth-
ing to do with his singing. Even when
he does things his audience may not
like, that spark — that magnetism — is
still there."
But Sinatra didn't become one of
the biggest stars in the entertainment
world simply because of that "star
quality," any more than hundreds of
other folk, in their various fields, have
succeeded without really trying. The
ingredients for success in show busi-
ness are many, and for the most part
they coincide with those for success
as a human being.
The Mack recipe includes eight:
1. Talent. All the props in the world,
says the man who should know, won't
make a successful singer — most of the
"Amateur Hour" contestants these days
are would-be vocalists — unless he has
the talent to back them up. "Ability,"
as it's known in the non-show-business
world, works the same way. But talent
or ability, Mack emphasizes, doesn't
mean just technical perfection. Maria
Callas— she was Maria Kalogeropou-
los when she appeared on the show,
back in 1935 — didn't become one of
the world's greatest opera stars just
because she could hit high C. Just as
truly, the girl who's most popular on
the dance floor isn't necessarily the
one with the snappiest new dress, or
the one who can switch from the Twist
to a polka without missing a step. But
add a personality which shines out in
a crowd and she's well on her way
to becoming a winner. One of the
first steps: Be yourself. If you're tiny
and dark, don't try to be a carbon
copy of the Grace Kelly of your crowd.
If you're tall and, you think, skinny,
don't go around with your shoulders
hunched and all of you slumped over
to try to look shorter. Stand up
straight and don't worry if you have
to look down at some of the men.
Remember: From tall, slim girls,
models are made. And a model repre-
sents what everyone else wants to be.
2. Persistence. "There's rarely a
short-cut to success in show business,"
says Mack. (Continued on page 91)
FOR HOW TO LOOK LIKE A WINNER, TURN THE PAGE
51
STEPS TO A
EMTIFl L LIFE
1
Beauty is more than skin
deep; it's a glow that
starts from inside out.
How do you get that
glow? One way is to think
beautiful. Sound easy? It is — once
you get into the habit. To start,
stand beautiful — i.e., straight. If
your shoulders sag, if your back
curves, if you always need to lean
on things — tell yourself you're
going to stop — and then do it!
You'll feel — and look — much better.
W& Walk in beauty. For this, you've
^^ got to stay loose and limber.
H> B Stretch lazily like a cat while
^.J you're still abed; stretch again
when you get out. Limbering
exercises will relax your muscles, put your
whole body at ease. For waist and hips:
Reach 'way up over your head, pull up
through the spine, then fall from the waist
and let your hands touch the floor. Just
hang there for a few moments, then
start again. For neck, shoulders and back :
Stand straight, chin up high. At eye level,
clap both hands together in front of you,
then swing arms around to back and clap
hard. At the same time, reach backward
with your head to firm the throat-line.
2
Dress like a beauty. Believe it or not, you can do
it on a budget. The big expenditure: Time and
taste. First, keep your clothes neat, well-pressed,
organized. Spend an evening sorting out accessories
and deciding what goes with what — and when.
(Rhinestones are out for daytime; pearls are always in.)
Make a chart, if necessary, to avoid last-minute mistakes.
Look closely at the proportion of your clothes. Hem-lengths
must look right on you — no matter how short everyone else
is wearing them. Buttons should be sewn on, hooks mended,
linings shouldn't hang and neither should threads. If you're
petite, try solid colors, vertical lines, small prints. If you're
tall, try this year's mad prints, any-which-way stripes, big, bold
accessories — but try them in front of a mirror! Let your
sense of line and proportion guide you. A good rule: Better
to be "under"-dressed than "over." If in doubt, take the pin off.
4
Eat your way to
beauty. To cut down
fatigue and keep
your spirits high
during the day, keep
a supply of low-calorie snacks
handy — celery, carrots, fruits,
whole-wheat wafers, skim milk.
At mealtimes, keep things bal-
anced. If you're dieting, you
needn't be a martyr. Your gro-
cer's shelves are full of low-
cal, high-flavor temptations.
5
6 Put on a good face. But first, remember the old adage about
cleanliness. You can see through make-up — no matter how plastered
on^so you need as near-perfect a complexion under it as you can
get. Cleanse often, treat blemishes as soon as they pop. For deep
cleansing, remove make-up with cleansing cream, then steam your
face with a hot cloth for ten minutes. To draw a winning smile, use a long-line
lipstick and shape your mouth up at the corners. For sparkling eyes, erase
shadows under them first with an opaque, lighter-than-skin-tone foundation
stick. Then try a light flick of rouge below the eyebrow. A very light flick!
7
Meet the world with open hands — and beautiful ones.
In other words, no more nail-biting or finger fidgeting.
And graceful hands need frequent manicures, though
they'll last longer if you brush on a coat of top sealer
every night. Use hand lotion generously and often to
smooth and soften. And don't forget that, in summertime, your
feet are part of the public parade, too. Pedicure, anyone?
8
Start at the top — your
hair. To get the most do's
out of one haircut, visit
a good stylist — the small
extra expense is worth it.
Have your hair cut fairly even
all around, tapering gradually
toward the ends. Remember, too,
to choose the correct shampoo
for your type of hair (dry. oily,
normal, bleached, etc.). Add
health with hair-conditioners,
sheen with creme rinses. If your
hair is drab, perk it up with one
of the new semi-permanent rinses
that last through several sham-
poos, need no retouching, drama-
tize your own natural coloring.
If you need extra body to hold
your hairdo, a permanent — home
or salon — is the answer. If you
haven't tried one in a while,
you're in for a pleasant surprise.
Modern science has taken the
frizz out of them. And oh, yes —
in all cases, brush, brush, brush.
Be yourself. You're a very
special individual, so let the
world know it. One lovely way:
A perfume as your signature.
52
does a
SECOND WIFE
Vaitessn ( Viulro Peters) faces
a double problem as stepmother to
Alan ( Jimmy Bayer) and second
wife to Unite (Ronald Tomme).
have to be
SECOND BEST?
by ARTHUR HENLEY with Dr. ROBERT L. WOLK
(Please turn the page)
53
To millions of women, Vanessa
Sterling is as real as their next-
door neighbor. They see her each
day on "Love of Life" and they know
her as a rather remarkable woman
in her mid-thirties, a woman strug-
gling with the day-to-day problems
of a second marriage. In this article,
we, too, shall treat her as a real per-
son and deal with her problems as
real ones, especially those arising
from a second marriage and the rear-
ing of stepchildren. Certainly, a great
many women on the other side of
the TV screen are faced with the
same problems as Vanessa and often
need help in resolving them. In our
discussion, my words will appear in
regular type, like this, and Dr. Wolk's
words will be in italics, like the fol-
lowing:
Psychologically speaking, the inti-
macy of television and the regular
habit of looking in on the same pro-
gram every day combine to make
Vanessa, her family, her friends, and
all the local landmarks of the mythi-
cal town of Rosehill loom even larger
than life.
Since Vanessa's problems are uni-
versal, they become immediately rec-
ognizable to the housewife, for they
have something "in common." So by
applying psychological principles to
Vanessa's trials and tribulations, we
might obtain some insight into our
own lives.
It's a second marriage for both
Vanessa and her husband, Bruce
Sterling. She lost her first husband
in an airplane crash; he lost his first
wife in a suicidal auto crash.
Introduced by mutual friends over
two years ago, they quickly fell in
love and married. Along with Bruce,
Vanessa inherited his two children:
Barbara, now twenty, and Alan, now
seventeen. Vanessa herself is childless.
They all live in Rosehill, where
Bruce is headmaster of a private prep
school for boys, Winfield Academy.
At one time a television actress. Van-
A first marriage is
made with the heart.
thev sav ... a second.
with the head. But
is this reallv true?
Doesn't a second
wife want— and need
love as much as
am voumrer bride?
The answer is yes,
of course she does.
But the path to this
second love is far
bumpier than a first
wife ever dreamed...
essa now works part-time selling real
estate.
A second marriage carries with it
some special problems of its own.
Invariably, the new mate is compared
to the previous mate. The woman,
especially, may wonder if her second
husband truly loves her as much as
her first did — and also if he loves
her as much as he loved his first
wife. Furthermore, both husband and
wife have become more set in their
ways, so adjustment often becomes
more difficult.
Stepchildren create further prob-
lems. Although Barbara and Alan
are not babies anymore, and are on
their way to independence and ma-
turity, Vanessa does have to make
herself acceptable to them as their
new mother. She's likely to be com-
pared to their real mother and per-
haps even resented as an interloper.
Still, marriage to a widower may
require less of an adjustment tlian
marriage to a divorced man. In di-
vorce, the first spouse is still on the
scene, visits the children and may be-
come an active, ever-present rival to
the new spouse.
Another problem every second wife
faces is acceptance by old friends
who knew her predecessor. But Van-
essa and Bruce don't seem to have
this problem ; they seem to be socially
secure in Rosehill.
Vanessa's marriage to Bruce is not
"perfect." Most of their conflicts seem
to come from sources outside them-
selves. Nevertheless, they do have
their differences, and don't always
see eye to eye on everything.
Vanessa, for example, believes in
complete honesty at all costs. She is
not as willing to make compromises
for the sake of practicality as is Bruce
— although he wouldn't do so at the
sake of his honor or integrity.
There was a time when they were
separated briefly. During that period,
Vanessa declined to feel sorry for
herself and went to work, establishing
54
a real-estate business in Rosehill. Aft-
er their reconciliation, their relation-
ship became stronger than ever, but
Vanessa still gives a few hours of her
time each day to selling real estate.
No marriage is perfect — even a
first one. And any marriage is doomed
from the start when the couple feels
it falls short of perfection and doesn't
live up to their dreams. Unwilling
or unable to make compromises, such
a marriage soon disintegrates.
Vanessa and Bruce are no differ-
ent from other couples in not seeing
eye to eye on everything. This is nor-
mal and healthy . . . provided that
the couple can sit down together and
talk things out reasonably when they
have a major difference of opinion.
If they have a great deal in common
— similar tastes, interests and back-
grounds, for example — they'll quick-
ly overcome such differences and
their marriage will become closer
and more stimulating.
Reconciliation may be easier in a
second marriage, for both partners
are usually more mature and more
inclined to want to make the marriage
work. It's the second time around
for them and, unless they're highly
unstable emotionally, they want it to
be the last time around.
Vanessa showed her mettle in go-
ing to work during her separation.
Such a woman would not want her
marriage to sink into nothingness.
Sometimes an episode like this serves
to wake up both partners and bring
them a new awareness, a new close-
ness, a new respect for one another
and their marriage relationship.
The Sterlings' major problem is
Bruce's daughter, Barbara. Try as
they might, they cannot remain aloof
from her marital difficulties.
For Barbara had married a wealthy
young man named Rick Latimer — a
spoiled, egocentric, yet well-meaning
fellow who simply was unable to find
himself. Barbara failed to understand
him and turned away from him —
and the more she turned away, the
more he drank and the wilder he
behaved. Finally, she filed for a legal
separation, despite the pleas of Van-
essa and her dad to give Rick another
chance. Even her brother Alan more
or less condemned her antagonism
toward Rick.
Another man showed an interest
in Barbara, but she became so con-
fused that she refused to see either
him or her estranged husband. Van-
essa accused her of knowing nothing
about love and warned her that she
would destroy both young men by
her attitude. In this matter, Bruce
disagreed with Vanessa's severe point-
of-view about his daughter.
But no one was able to prevent
Barbara from finally divorcing Rick.
They only succeeded in getting her
to agree to a Mexican divorce to
avoid talk and to prevent Rick from
further hurting himself by filing a
vindictive suit for divorce in Rosehill.
A stepmother has all she can do
just to win the affection of children
that are not her own. When such
youngsters are beset by emotional
problems, as Barbara is, her problem
becomes doubly difficult.
The father also has a difficult job
on his hands, for he has to play
fair with both his new wife and his
children . . . and his deepest obliga-
tion is to his children. When conflicts
arise between wife and children, he
has to decide who's right without
offending any of them.
Vanessa's disagreement with Bruce
concerning daughter Barbara doesn't
seem to have been too volatile. But
Vanessa's involvement in Barbara's
predicament may be looked upon by
her stepdaughter as "interfering."
After all, she is an adult, and if her
marriage turned out unsatisfactorily,
she must be left to find her own so-
lution — unless she asks for advice.
Her younger brother, Alan, also
has no business interfering in his sis-
ter's private (Continued on page 76)
55
AAY FIGHT TO SAVE MY
When I arrived in Hollywood
to play Kate in "The Real
McCoys," I had the good repu-
tation I treasure — both as a
woman and as an actress. I still
have it — but wait till you hear the de-
tails of my fight to preserve it!
According to the "authorities" I met,
it was important to be talked about, to
have a big career. So I said "yes" to
some nice invitations to premieres and
parties. I didn't foresee how things
would snowball when I was merely try-
ing to be obliging. The first time someone
referred to me as "a red-headed riot,"
I was flattered. Who wants to be dull?
To me, there's nothing wrong in loving
by
KATHY
NOLAN
life, in singing and dancing
and laughing along with
everyone else. I'm not prissy.
At times, I'm overly affection-
ate, a trait that's been mis-
interpreted. I've had so much love in my
own family, where we make every
stranger welcome, that I feel like show-
ing friendliness. But T learned that Tcan
be standing next to somebody at a party
in Hollywood, simply saying hello, and
a picture may turn up in a magazine as
proof of "a hot new romance." It's sup-
posed to be a sign of how irresistible you
are! Well, with one exception— I'll tell
you about him later— I've never fallen
instantly for (Continued on page 79)
Don't miss this frank story of a girl who had to learn to say NO
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58
SivJ
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\>;
•
Three years after his cancer operation: Arthur Godfrey's own story of his life today
Three years after medical sci-
ence snatched him back from the
shadows, Arthur Godfrey still lives
every day with dying. He speaks
of it calmly and matter-of-factly.
"The pain is there but I'm in-
ured to the aches and pains," he
says.
He's talking now about the
arthritis in his arm and his leg;
about the occasional hurt he ex-
periences in the left hip which
was operated on because of his
now-famous auto accident.
About the cancer?
"The incision aches in the
chest," he tells you. He's speaking
about the giant scar, a visible re-
minder of the three-hour opera-
tion in which doctors removed a
tumor and part of his lung. He
will have to wait until five years
have passed before he knows if
the operation was successful-
not.
"This horrible, skulking thing,"
Arthur called the tumor after he
first learned the harsh truth.
"Man, this is rough," the peppery
freckle-faced performer revealed
with utter candor. "No pain any-
where — look good, feel good. But
some of the best brains in the
medical profession have discov-
ered a 'thing' in my left lung.
Can't tell what it is-^this thing —
but, whatever it is, it doesn't be-
long there. It must be removed. If
it's a benign tumor of some sort,
hurray for our side — no more
sweat. If the damn thing is mal-
ignant — cancerous — then there's
real trouble. Maybe have to take
the whole lung out."
The next night, he watched the
farewell TV show he had taped
on his Virginia farm. On the
fourth hospital day, Godfrey was
wheeled into surgery. The time
was 7:25 A.M. At 8:29 A.M. — an
hour and four minutes later — a
team of three surgeons, three
nurses and an anesthetist stood
over Godfrey and the operation
had begun. At 10 a.m. a doctor
came out and whispered to Ar-
thur's wife, Mary, that he had
cancer. Mary Godfrey, who had
spent the night at the hospital,
took the news bravely. At 1:25
p.m. the medical team completed
its mission; Godfrey was wheeled
into the recovery room.
Less than two weeks later, he
was discharged and went home to
convalesce and undergo a long
period of x-ray radiation therapy
in an endeavor to kill the nucleus
of the cancer cell and prevent any
remaining living cancer cells
from growing. Godfrey accepted
the challenge with rock-ribbed
courage, (continued on page 83)
61
WHY
THEY
WARN
YOU
ABOUT
GEORGE
MAHARIS
"One thing you've got to admit about the guy: No matter what
he's got, he shares it." This was the local gag going around
in television circles, and the only person who wasn't laughing
was George Maharis. He was in a Santa Monica hospital with
infectious hepatitis, and everyone else in the cast and
crew of "Route 66" was scurrying to the doctors for protective
shots. There's truth behind the gag about George's
willingness to share everything he has . . . but there was more
than that behind the laughter. It was a big, booming sigh of
relief — not only from his co-workers, but from the many com-
munities being invaded by the wide-ranging TV series. George
was under lock and key; he was well-guarded; for
a while, at least as long as the quarantine lasted,
they were safe. . . . Undoubtedly, adventure would
still follow wherever "Route 66" went (isn't that
the idea behind the whole show?) . . . during
those weeks George had to be left behind to con-
valesce. But surely there would be fewer misadventures
which weren't in the script! Now, perhaps, there'd be no more "dead"
bodies in the bed ... no clock-watching cities turned upside-down
overnight ... no false runs on the local bank. It had been enough to
drive a man to drink (and it did). But you can't really blame
George for the poor guy who couldn't find his home again, or all those
people who were late to work next morning,
or the two college boys who tagged him
and Marty Milner from town to town mimick-
ing everything the stars did . . . particularly
when you see that guileless expression in the
Maharis eyes: "Look, Ma — I didn't do it.
I was just there when it happened!"
On the other hand, you can't blame
those law-abiding citizens who
think there should be a town crier
running ahead, swinging a warning
lantern and yelling: "Maharis is
coming!" — just like
in the Great Plague
— when this enter-
prising troupe swings
into view down
(Continued on page 89)
62
*;i
I
What your man really
means when he says:
" BUT,
DARLING,
WE(AN'T
AFFORD
IT ! "
"I own a Bentley, my dear, for three reasons. Firstly,
it is a beautiful automobile . . . secondly, it is not
showy . . . and thirdly and most important, it is three
hundred dollars cheaper than a Rolls-Royce. I believe
in cutting corners whenever possible, and three hundred
dollars is, after all, three hundred dollars. Frankly,
I can't afford it."
Being fully aware that the going price for a Bentley
starts at around $20,000, I looked up quickly from my
lunch to see if the gentleman was smiling. Sebastian
Cabot was not. We were only on our first course, but
I was already quite convinced that Carl Hyatt, the
urbane and eccentric criminologist on "Checkmate,"
was only surpassed by the man who buys a Bentley
to save money 1
"I have my eye on another Bentley now," he con-
tinued, "and also a little type-35A Bugatti. They're
both a marvelous steal at the price on them."
Sebastian's handsome wife Kay emitted a sound very
much like a snort and gazed at her husband. You might
even go so far as to say she stared at him. Sebastian
lowered his eyes and concentrated on his snails.
"We have four foreign cars in the garage but no
place to sit in the house," sighed Kay. "Why don't
you tell about the divan, darling?"
"My dear, that is a gross exaggeration and you
know it. W e have a number of places to sit. And as
for the divan, I've told you we just can't afford to have
it reupholstered this month. Perhaps in a few weeks."
"That's what you said last month."
"Darling, you have a one-track mind."
"His stock answer to everything is we can't afford
it. Whenever I want anything for the house, we have
to sit down and discuss it. (Please turn the page)
64
A lesson for every woman-from Sebastian Cabot
65
Sebastian's war cry:
Remember the budget !
Hobbies for the family— wife
Kay; Yvonne, 4; Annette,
19; Chris, 17 — are less costly
than Sebastian's. Natch!
Sometimes we disagree," Kay explained, dead-pan.
"What she means is, neither one of us ever
gets his own way without a hell of a battle," smiled
Sebastian. Then he turned to discuss the merits
of a clear consomme, as opposed to a turtle soup,
with the hovering waiter.
The discussion of money had come up when
I asked the Englishman what he thought of the
way many show-business personalities spent their
earnings. So many appeared to live beyond their
means, putting nothing aside for future security.
"Most actors come from fairly middle-class
backgrounds and a number from quite poor homes.
Almost all have a rough time on the way up, so
I suppose it is only natural to go out and splurge,
once the money starts rolling in. I see nothing
wrong in having one fling and getting it all out
of your system. But, after that, one should relax
and take stock. Not only take stock — but buy it."
Kay Cabot ignored her husband's pun and pointed
a finger in his general direction. "All right then.
may I please have my first and last fling and
get the divan re-upholstered? It's not that I mind
the fact it's shabby and faded, but the darn springs
have popped up right through the seat."
"One must budget and conserve, my pet," Se-
bastian nodded knowingly, as he admired the sole
bonne femme and asparagus hollandaise set before
him. Sipping the excellent white wine he'd ordered
to go with the fish, he dwelled further on the
wiseness of watching one's bank account.
"My advice to any young actor is: Don't put
up a front, but go carefully. Moderation is the
motto. Glamorous homes and expensive furs are
not practical, and gadding about from one night
spot to another is far too fatiguing. It's better
to acquire a nice little hobby."
"What he means," Kay explained, "is that the
couch won't be repaired next month, and this mink
stole I borrowed from a friend is as near to a
mink as I'm ever going to get. Night clubs are
out because the food (Continued on page 85)
66
§P[1@D&[1
MIDWEST
At top — hosting a record hop at Moose Lodge.
Right — at home with his pretty wife, Joann.
Morning man Marc Alan (he's heard on KLEO
from 5 to 9 a.m.) has an unusual and effective
way of getting his Wichita listeners off to work
in the morning. Here's how it works: When Marc
took over the morning slot a year ago, he felt his
listeners needed something to remind them that
it was time to leave for work. He went to a pro-
duction studio and recorded his audio version
of a kiss. Each morning, he plays it and urges
the housewives to kiss their husbands good-
bye. And who gets Marc himself off to work? Why,
he has a loving wife of his own, named Joann,
who's only too happy to bestow a pre-dawn kiss.
Says Marc with a grin, "I think she must be a little
bit of a nut to have married a radio man!"
KISSIN'
KLEO Radio's Marc Alan has a
smack-happy way of getting his listeners
off to work. Read on to find out how
67
.It's not work, it's my whole life. I enjoy singing and
I do it constantly." So speaks Chicago's pretty songbird
Connie Mitchell, who is currently "not working" on
three daily WBBM shows— "The Connie Mitchell
Show," heard from 4:45 to 5 p.m.; "The Mai Bellairs
Show," from 7:15 to 7:25 a.m.; and "The Joe Foss
Show," from 7:30 to 8 a.m. . . . Cute Connie began
singing at the age of six and, at eight, was a mem-
ber of a local trio called "The Swingsters." At eight-
Sweet as an angel in front of a harp,
Connie Mitchell finds joy in everything.
P.S. She also found out ^diamonds
5?
and gold cocktail gowns don't mix!
68
een, Connie won out, over 300 girls, for a booking at
the Sherman Hotel. When WBBM announced it was
looking for a new femme vocalist, she auditioned . . .
and is happily still there. . . . "Getting up at five,
every morning, means I have to go to bed very early
and this keeps me from participating in an active
social life, but I still enjoy it," says bachelor-girl
Connie. The young singer lives with her family in
Lincolnwood, in an eight-room, bi-level house, fur-
nished in "modern French provincial." . . . Though
Connie loves to play baseball, a recent incident almost
turned her against the game entirely. At a radio-TV
celebrity game, Connie enthusiastically joined in the
play. Too enthusiastically, as it turned out! At one
point, she unfortunately had to slide into third base.
This wouldn't have been so bad, only Connie was
wearing a gold cocktail dress which split . . . before
an amazed and astounded audience of one thousand!
Close harmony reigns in this musical Chicago
family. Papa Albert is at the piano, above.
Singing trio includes mama Ruth, Connie and
sister Iris. Her nephew Mark shows he knows
the score, too — though, at three years of age,
he'd rather play "cowboy" with Aunt Connie.
MEET
\\
MOVIE
#/
70
Bill Kennedy knows all
about the movies —
with good reason: He
used to make them
I
Bill enjoys helping son Bartley, 12, with his projects.
Calls to Hillsdale College keep Bill near daughter.
If Detroit's Bill Kennedy seems to know an awful lot
about motion pictures, it isn't just because he's host
of CKLW-TV's movie show, seen Sunday through Fri-
day at 1 p.m. Bill actually made more than 100 films
in the fifteen years he spent in Hollywood! Today, Bill
says he honestly prefers showing films to making them.
And his many colorful stories on his Hollywood expe-
riences afford viewers a glimpse into the glamorous tinsel
world of show business. In addition to hosting the movie
show, he also answers listeners' questions and inter-
views celebrities, many of whom are his personal friends.
. . . Recalling his beginning in show business, Bill says,
"I was working for a Los Angeles radio station after
a couple of screen tests didn't pan out. Hal Wallis
(then with Warner Bros.) heard my voice and won-
dered what I looked like. When he saw me, he said,
'I can just see you on a horse.' Well, I signed a seven-
year contract. Funny thing is, I never did make a West-
ern the whole time I was at that studio!" . . . These
days, widower Bill tries to spend as much time as
possible with his three children — Michael, 22; Patricia,
19; and Bartley, 12 — when not busy with his reel life.
Widower Bill leaves cooking to his housekeeper.
71
TV actors Larry Pennell and Ken Curtis play the sky divers in "Ripcord.
with the greatest of ease — and speed . . . and a little
help from their parachutes — these daring young sky divers of "Ripcord"
72
"Skydiving," the country's fastest-growing sport and a vital military
tactic, became dramatic TV entertainment when Larry Pennell and Ken
Curtis debuted in the action-adventure series "Ripcord." As Ted McKeever
and Jim Buckley, they portray men in one of the world's most unusual
and hazardous professions — parachutists for hire. They leap from a plane,
doing what every child dreams of: Flying through the sky with the grace
of a bird. In their remarkable jobs, they help on missions of rescue,
mercy, and law enforcement.
Larry, born in Uniontown, Pennsylvania, spent most of his early life
in Hollywood, where he excelled in all sports. His baseball prowess won
him a contract to play for the Boston Braves — he was with them for
two seasons before he was drafted for military service. When he returned
from service, Larry discovered that his contract had been sold to the
Brooklyn Dodgers. He didn't like the terms and became a spring hold-out.
During this period, a friend suggested he try for an acting career and
arranged for a screen test with Paramount. Larry appeared in feature
films for Paramount and other studios, then guest-starred in a number
of TV shows. A role in "Malibu Run" caught the eye of producer Ivan
Tors, who signed him for "Ripcord."
Off screen, Larry lives a quiet life with his wife Patricia, a non-
professional, and their baby daughter Melaine.
Ken Curtis also switched careers. Born and brought up on a ranch
near Lamar, Colorado, Ken came into show business as a musician. While
a student at Colorado College, he wrote a musical show which was highly
praised. After graduation, he headed for Hollywood, intending to write
music for the movies. Instead, while waiting for his writing break to
come, he got a job at NBC singing on variety shows. After military service,
Ken returned to civilian life and appeared in a number of films and on TV.
Ken is married to the daughter of director John Ford, and they live
on a small ranch in the San Fernando Valley.
Illtlllllllllllllltllll
VINCE EDWARDS
(Continued from page 30)
(Long before either of them ever heard
of Ben Casey, Vince Edwards and Nick
Dennis were good friends. They've been
through a lot together, including the
current TV show on which Vince is the
doctor, Nick the hospital orderly, Nick
Kanavaras. Now, for the first time, Nick
tells what his friend is really like. We
think it's a revealing story that leaves
very little unsaid. The Editors)
Miracles like that you've got to see
to believe. I saw it.
It happened when I went along with
Vince recently on a personal appear-
ance tour to Phoenix. People take him
seriously as Ben Casey — but I never
knew how seriously until we hit Phoenix.
I'm not talking about the crowds.
I'm talking about one little girl.
You don't have to take my word for it,
either. It's documented. If you're skep-
tical, all you have to do is check St.
Joseph's Hospital in Phoenix.
Vince was making the rounds, saying
hello to the patients. It seemed to be
kicks for everyone, including the doc-
tors. I won't say my feelings were hurt,
but I was kind of surprised that none
of the orderlies looked me up and asked
for pointers.
There was one little girl in the chil-
dren's ward whom Vince was going to
pass up. She'd been smashed up in an
auto accident and she was in a bad way.
As they walked by her bed, the doctor
shook his head.
"What's the matter?" Vince asked.
"Poor kid's been in a semi-coma ever
since she's been here," the doctor said.
"We don't seem able to bring her out
of it."
"That's too bad," Vince said.
He meant it. What else could he say?
This was life. It wasn't the show.
The doctor gave Vince a strange look.
"Why don't you talk to her?" he said.
Vince didn't go for the idea. In a
way, this medico was asking him to play
a doctor and God at the same time.
But the doctor pressed him. "What
harm could it do?" he said.
"I don't know," Vince backed off. "It
just doesn't seem right, the kid that
sick and all. What could I say to her?"
The doctor smiled. "Just say, 'I'm Dr.
Ben Casey,' " he urged.
Vince walked over to the kid. She
looked at him through a half stupor.
He smiled down at her.
"Hi," he said, "I'm Dr. Ben Casey."
This is where the story turns to mush.
It's not to be believed. Only it really
happened.
Seeing Vince did something uncanny
to that little girl. Her legs began to
twitch. Her arms began to twitch. The
movement spread through her entire
body. The kid came to! So help me —
that's exactly the way it was.
If Ben Casey ever did anything like
that on television, they'd laugh the show
off the air. The doctor at St. Joseph's
had played a hunch. He had some psy-
chological explanation— and I'm sure it
made sense.
I've got some theories of my own. I'm
not saying I could have predicted that
it would have happened. But I think I
understand a little of why it happened.
I feel I know Vince that well. I think
the kid would have perked up if Vince
had stood over her and said, "Hi, I'm
Pete Picklepepper."
No disrespect to Ben Casey, you un-
derstand, but I think that kid was react-
ing, not to a famous television person-
ality, but to the look in Vince's eyes,
the compassion in his voice, the friend-
liness that was so clearly on the level.
Vince was really cracked up about
that kid. She got to him. He felt like
some kind of an idiot walking up to her
and telling her he was Ben Casey. But
the doctor said do it, so he chanced it.
I think all of that got mixed up in it —
and the kid dug it.
Don't think right away I'm going to
quit the orderly business and hang up
a shingle as a head-shrinker. I've got
reason to believe this way. I sized Vince
up long before either one of us ever
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73
heard of Ben Casey. I saw the way
Vince was with kids years before any-
one thought he was enough of a big
shot to tour a hospital to cheer up
patients.
I know the way Vince is with kids,
because I've seen him with my own. My
two daughters — Virginia, who's thirteen-
and-a-half, and Paulette, who's eight-
and-a-half — are crazy about Vince. They
always have been ; even when he used to
stop over at the house and wonder out
loud if he'd ever really get anywhere in
Hollywood.
At heart, I think it's the honesty of
kids that gets to him. And strangely
enough, although Vince is a big boy
now, it's his honesty that gets to them.
I never saw Vince put on an act for
my kids. He could either leave them
alone or horseplay with them. If he
didn't happen to be in the mood, he
wasn't in the mood. He respects them
too much — and likes them too much —
to con them.
All he has to do is just pick up Vir-
ginia or Paulette, give a squeeze and
yell. "Grreeeek! What are you?" — and
suddenly it's Christmas and their birth-
day all rolled into one. You've never
seen anything like it.
A family of his own
He.'s rough and warm, and they're
hopelessly in love with him. He's never
brought them a present, either. Some-
thing deep goes on with Vince when he's
with kids. I think it has to do with how
much he'd like to have a family of his
own.
For about five years after I first came
to Hollywood from Broadway, I used to
live in a house behind the Cock 'n Bull
restaurant on Sunset Strip. Everybody
knew us from New York, and when they
came to Hollywood they were always
dropping in — big successes like Marlon
Brando and Jimmy Dean, and some who
were just getting by on hope, like Vince
Edwards. He was a kid I just got to
know when he used to come backstage
to say hello to Marlon when we were
doing "Streetcar Named Desire" on
Broadway.
More than any of the others, Vince
got to be like one of the family. I al-
ways had the feeling, from the way he
acted, the way he looked, that having
our place to come to meant a lot.
You know he's Italian, he's Mediter-
ranean. I'm Greek. We've always been
very close, and I think that's part of it
— because we naturally understand each
other. Even his appreciation of Greek
food — you'd think Vince was a Greek
himself. When you drink Greek coffee,
sipping it, even slurping it, is allowed.
It may be bad manners in America, but
in Greece, if you don't make noise when
you're having coffee, it means you're
not enjoying it — and you're insulting
the host.
Vince never insults us.
His favorite dish in all the world is
stefado. I guess this is Greece's answer
t to Irish stew. It's a national pastime in
v Greece. Vince will come practically
r from the other part of the universe to
have some of Helen's stefado. It's made
preferably with venison or rabbit, and
sometimes with chicken or beef. Helen
doesn't gravy it. She puts it in a pot
and gives it the treatment with garlic,
oil, wine vinegar, tomato paste and what
not. The aroma is fantastic. Vince can
just stand there by the hour — sniffing.
The point I'm making is that Vince
isn't just a friend. He's become one of
us. He fits. We are always glad to see
him. Others are warm friends, welcome
any time. But Vince is family.
Sometimes he'll just sit and barely
say a word. Other times we'll stay up
half the right talking about any subject
you can name — politics, history, women,
boxing, wrestling, Rome, Greece. Often,
when we lived in Hollywood, we used
to take long walks along the Strip — he's
always liked to walk. We'd go to Ham-
burger Hamlet for a cup of coffee and
sit there for hours. Soon other actors
would come by and join us.
I always had the feeling that what
Vince liked most about our place was
that he could relax with us and be
himself. He'd just sit down and have
a smoke. Helen would give him a cup
of coffee, a doughnut, make him a sand-
wich, and he'd slump in his chair and
he'd get that strange, heart-tugging half-
sad smile on his face. When he came
to my house, it was like home. It still is.
Once, after Helen put the kids to
bed and sat down with us in the living
room, Vince put down his cup of Greek
coffee, looked me straight in the eye,
and said, "You know, Nick, I'm going
to tell you something. You've got it
made. I only wish I had your luck."
I thought he was talking about acting.
I was getting pretty steady work — noth-
ing earthshaking, but acting was my
trade and I was earning a respectable
enough living at it. I knew Vince was
sweating out his big break, and even
though he wasn't working much at the
time, at least he was drawing a salary.
"What's the matter?" I said. "You're
not doing too bad, Vince. You're under
contract to Hal Wallis. That's not the
worst thing in the world, you know."
Vince shook his head. "I'm not talk-
ing about that, Nick."
He looked at Helen, who'd happened
to let her hand fall over mine. I'm sure
she didn't even realize it, and I didn't
even notice it. But Vince did.
Marriage for Vince?
"You've got the world by the scruff,
Nick," he said. "You've got a good wife.
She thinks you're king of the sandpile.
She takes care of you. You have two
swell kids. You and Brando sit in the
same room, and you better not ask your
kids who's the greatest actor in the
world. With them, it's not Brando. I envy
you, Nick. Someday I'd like to make it
like this."
After all, there's only one reason a
single fellow keeps dropping in on a
guy who's married and has kids. He
likes to be there. I think no matter how
full Vince's life may seem to be, he'll
always be a little lonely until he finally
gets married and settles down.
And I'm sure he knows it.
But that doesn't mean you have to get
out the crying towel. There's a reason
Vince is still single. Vince is thirty-one
or thirty-twof give or take a year.
Doesn't mean a thing. I married late in
life myself.
You must realize his upbringing. Al-
though Vince is American and all that,
he still inherited what you call this
Mediterranean flavor. In Italy, where
Vince's people came from, and in
Greece, where I came from, nobody
thinks anything of waiting until he's
35, 36 or 37 until he gets married.
That's when a man knows what he's do-
ing. He knows how to take care of a
wife.
In the old country, they start late,
but they maintain the lateness. My
brother was born when my father was
61. Certainly! You read in the papers
in Italy and Greece about men — they're
82 years old and they've got twins. Be-
cause you haven't burned your candle.
You start drinking at fourteen and fif-
teen, you get married in your teens, and
at twenty-four you're burned out.
Who needs it? Not Vince. Right now,
in his looks, in his powers, Vince is like
a nineteen-year-old kid. When he gets
to be 45, he'll be like 32. I know his
philosophy. This is something Vince
and I have talked about many times. I
know how he thinks — as an athlete, as a
person, as an actor. He doesn't waste
himself. He never has. He builds. He's
a great swimmer, he wrestles, he's a
weight lifter, he's an adagio dancer.
He's an all-around athlete. He's a man.
Life isn't passing Vince by, don't you
worry. He's not about to let anything
like that happen. I've honestly never
seen girls go for anybody the way they
go for Vince — and this was true long
before he became Ben Casey.
He always had a lot of girlfriends.
Some of the girls I don't even remem-
ber. Every time I saw Vince, he was with
a different one. I'd say to myself, "How
does he do it?" I'd see him in the morn-
ing with one girl. Come afternoon he'd
be with another. I'd take my daughters
for a walk on Sunset Boulevard, and I'd
see Vince with still another girl.
Another thing I respect about Vince
is his respect for women — and I think
that's because he has respect for him-
self. As I said, I've known Vince since
he was a kid fresh out of Ohio State and
used to come backstage when I was do-
ing "Streetcar." That's a good chunk of
years. Through those years we've spent
countless hours together — no holds
barred on anything we talked about.
And I think the one thing that im-
pressed me more about Vince than
maybe anything else, is that, in all that
time, he's never talked about his con-
quests — never, not once. Not only ac-
tors, but a lot of men in general, are
always boasting about their conquests to
prove their manhood. Half the time you
don't know whether to believe them or
not.
But Vince is a man. For him, love is
not for talking about.
Obviously, I cherish Vince as a friend,
and naturally I'm high on him. But I
liked him for the same reasons ten years
ago that I like him for now. I remember
when he and I used to go to the Auto-
mat on Broadway and fish nickels out of
the slots so we could eat. I remember
(Continued on page 76)
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75
(Continued from page 74)
when I used to take him with me to the
New York Times employees' cafeteria —
where a few of us were allowed to eat
because some guys in the drama section
were very lenient on hungry actors. We'd
get a whole vegetable dinner for fifteen
cents, a big bowl of soup for five cents.
How he's changed
I remember Vince during those
"Streetcar" days when, like everyone
else, he was dressing a la Brando. One
day he would be with the T-shirt, the
next day he had on a polo shirt. That
was the time when you were supposed
to look not too well dressed. I did it
and even Elia Kazan used to dress that
way. But then around 1955, when
Brando began to dress, everybody
started dressing.
The only way Vince has changed is
that now he's setting the styles, not
following them. But as a human being
he's the same old Vince. Outside his
work, he likes to clown, he likes to sing,
he likes to play the piano, he likes to
tell jokes.
Only the other day, we were doing a
"Ben Casey" scene together. He looked
at me and forgot his lines. Instead of
getting irritated, he burst out laughing
and roared, "How do you like that.
Greek? Stefado!"
He loves to use Greek words — even
though stefado is stew and had nothing
to do with anything at the moment. To
Vince, it just felt so good yelling it,
getting out the sound of it. He likes to
mimic me. He mimics me to death.
When he rehearses, he says his lines the
way I do. Out of a clear blue sky, he'll
say, "That's right. We're going to Meli-
nas Papadakis' place."
He breaks up every time. He got that
from "Too Late Blues," where I played
Nick Bouboulinas, the Greek who ran
the pool hall where Vince beat up
Bobby Darin. "Where are the girls?"
Vince will say. "They're playing cards
over in Papadakis' house."
To me, friendship is or isn't. With me
and Vince, it is. And I'm sure it always
will be. I know he likes my company,
and I know I like his. We don't clash.
He's tall. I'm short. We clown around
with each other — but we take each other
seriously. He doesn't put on an act for
me. I don't put one on for him.
Vince has done a lot for me. For
what he has done, I'm grateful. But
that's not why you like a man. You're
more apt to like a man in spite of the
favors he does for you than because of
the favors he does for you.
Once, when he was dating actress
Roberta Haynes, I was over at her place
with Vince and a bunch of other people
for a swim. I was showing off with some
crazy diving and my back went out and
I was paralyzed as I hit the water. I
went under twice. Everyone thought I
was kidding. Once more and it would
have been one Greek less in Hollywood
— where they need all the Greeks they
can get. A sixth sense told Vince some-
thing was wrong. He dove in and fished
me out.
He saved my life, and I was grateful.
But that has nothing to do with why I
like Vince Edwards.
If not for Vince, I wouldn't be in "Ben
Casey." One day while we were shooting
"Too Late Blues," Vince said, "You
know, Nick. I'm doing a pilot for a TV
series. Would you come over and see it?
There's something I want to talk to you
about."
I saw the pilot and thought it was
great, one of the best I'd ever seen.
"Nick," Vince said, "how would you
like to be in this series?"
"How would I like to?" I said. "This
is the salvation of an actor — to be in a
series!"
I'm grateful to Vince for that break,
but one of the reasons I like him is the
way he did it. People can degrade you
with favors. Not Vince. He made it
seem I was doing him the favor.
"Nick," he said, "this isn't because
you're my friend — but because I've
known you as an actor for many years,
and I think you'll be an asset to the
series. That's why I want you in it.
You'll be good in it."
I think the key to Vince is his boyish-
ness. He's a big, rugged guy. But he's
gentle, very gentle. If Vince hits some-
body, forget it. That's why he controls
his temper. When his temper comes, it
comes. It's that Latin blood.
At the same time, he's just like a
lamb. I've never seen Vince vicious. Not
even with people who cross him. He
just leaves them alone.
The big thing about Vince is that he
doesn't have any dishonest emotions.
When he puts his arm around you, he
means it. It's not a phony Hollywood
gesture. It's not just for the sake of
putting an arm around you. He squeezes
you, if you know what I mean. He al-
most kills you. The tighter he squeezes,
the better he likes you. It's hard on your
ribs, but it gives you a nice feeling.
That's why I could understand what
he did for that kid in that Phoenix hos-
pital. It wasn't Ben Casey that little
girl was hipped on. It was Vince Ed-
wards. — as told to Bill Tusher
See Nick with Vince on "Ben Casey,"
ABC-TV, Mon., from 10 to 11 p.m. edt.
a
LOVE OF LIFE
if
(Continued from page 55)
life. Certainly he and all members of
her family should give her emotional
support in such a time of crisis, but
that is all.
As to prevailing upon Barbara and
Rick to seek a Mexican divorce, we won-
der if perhaps this wasn't motivated
by the fear that some of the scandal
would rub off on the rest of the family
and a desire to protect their own
■ reputations.
Deeply affecting the lives of Vanessa
and her family is her stepchildren's
grandmother, Mrs. Vivian Carlson — the
mother of Bruce's first wife. She is
a meddlesome, opinionated snob who
causes constant friction among the
Sterlings.
She exercises a good deal of influ-
ence on Barbara. It was she who en-
couraged her to seek a divorce and
who accompanied her to Mexico. On
their return, Barbara stayed with her
and her husband, rather than with her
T own family.
v The modern grandparent plays an
R important role in today's society. Mrs.
Carlson, of course, is an extreme ex-
ample of the worst kind of grandparent
76
who, to satisfy her own selfish needs,
wreaks havoc with the rest of the
family.
That she is allowed to exercise such
control is, to a great extent, Bruce's
fault. It seems reasonable to assume
that he is too weak to put a stop to
her meddling.
This is unfortunate for Vanessa, who
now must battle the ghost of Bruce's
first wife in the person of Mrs. Carlson.
Obviously, she has been unable to per-
suade Bruce to take a firmer stand
against this woman.
Barbara appears to be a weak, neu-
rotic young woman who lacks confi-
dence in her father. In order to win
over such a person, Vanessa may be
forced to offer more love, warmth and
understanding than she can muster. For
the odds are stacked against her, and
she can expect little help from her
husband.
Conflict piles upon conflict, reaching
a climax when Barbara discovers that
she is pregnant — after the divorce. She
wants to get rid of the baby, but
Vanessa talks her out of it. Barbara
agrees because she believes this to be
her obligation as a mother and, despite
the fact that she is no longer married,
the baby was conceived legitimately.
Suddenly, Barbara grows closer to
her stepmother and even moves back
into her father's home. During her preg-
nancy, she works as a roving secretary
at Winfield Academy and, although up-
set and depressed about her condition,
she grimly determines to have the child.
The intense emotional experience
Barbara is going through seems to have
helped her to transfer her dependency
from her grandmother to her step-
mother. This incident may help to draw
Vanessa and Barbara closer to each
other. It all depends on the firmness
of their relationship during Barbara's
pregnancy.
Once Barbara gives birth, however,
many new problems may arise. If Bar-
bara accepts Vanessa as her mother,
rather than just as her stepmother,
this will make Vanessa a true grand-
mother to the baby. Also, it will help
her to cope with Mrs. Carlson, who is
sure to ingratiate herself into the
situation.
Barbara's child is doomed to become
the pawn of all this emotional give-
and-take — just as is the newborn child
in any broken family. The emotional
problems of the parents and grand-
parents are sure to be visited upon
the unfortunate child — unless they come
to grips with their problems and clarify
their relationships in a healthy, un-
neurotic way. Now that Barbara has
decided to have her baby, she must
resolve to protect the child from the
disturbing emotions in her environment.
Vanessa — or any stepmother — must
be guided by the behavior of her step-
daughter. She must take care not to
interfere in matters concerning Barbara
and her baby — yet be there when she
is wanted and needed. Bruce — as Bar-
bara's father — can be decidedly helpful
by rising to the occasion and standing
by both his wife and daughter. In any
second marriage, the true parent must
be strong in times of emotional crisis
in order to re-unite the family.
Other people's problems
In Rosehill, where everybody knows
everybody else, togetherness is a way
of life. Privacy isn't easy to come by.
Vanessa, as a respected member of the
community, is caught up in one emo-
tional tangle after another. So in
addition to seeking answers to her own
difficulties as a second wife, she hovers
over her neighbors like a mother-hen,
concerning herself with their problems
as well.
Even in our largest cities, most peo-
ple live in a "small town." A recent
study on the subject emphasized the
fact that most people really know only
those neighbors who live on their street;
so, in effect, their street becomes a
small town itself.
Rosehill is like that street. Vanessa
is somewhat of a busybody. She messes
around in what doesn't concern her.
But in real life, the average woman
has enough problems of her own to
handle without going out of her way
to become involved with her neigh-
bors' difficulties. Vanessa can do this
because she has "dramatic license" to
do so; it makes her more interesting.
A real-life woman in her position
would be so taken up with the task
of making her second marriage work
that she'd have little time or patience
to concern herself with anything else.
Any second marriage most certainly
poses some very special problems of
its own, and it's a full-time job for
every second wife to find acceptance
in a home that is not really her own.
Whatever happens in Rosehill is a
matter of great concern to millions of
faithful television fans. TV's Vanessa
is their Vanessa.
Even if yours isn't a second marriage,
you can't fail to be affected by her
various emotional conflicts. And if yours
is a second marriage, chances are that
you most certainly see yourself as Van-
essa in your own life.
But have a care. Remember to sep-
arate the real from the fanciful. Van-
essa is not truly of flesh and blood;
you are! Make sure you don't wrongly
confuse yourself and your problems
with the image on your TV screen.
This month we dealt with Vanessa
Sterling and the problems arising out
of a second marriage. Next month we'll
tackle another popular daytime drama
psychologically and try to make its
stories and characters meaningful in
your own life. — The End
"Love of Life" is seen over CBS-TV,
M-F, from 12 noon to 12:30 p.m. edt.
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Name Address
City Zone State
..... FLEETWOOD CO., Dept. 22TH— 427 W. Randolph, Chicago 6, Illinois .....
77
PEGGY McCAY
(Continued from page 38)
slowly but firmly — he shook his head.
Then, seeing the disappointed expres-
sion on her face, he added solemnly:
"But— Merry Twistmas!"
When Peggy told me about the in-
cident over lunch in Warner Bros.'
Green Room, she giggled — that's an-
other vice of hers — and asked: "What
can a girl do when she's turned down
so charmingly?"
I allowed that I didn't know. And
I said, "I also don't know when you
two met — but I'd like to."
She smiled mischievously. "We met
one day when I was chopping up furni-
ture." Seeing my confused expression,
she added hastily: "It was for a TV
show — an episode of '77 Sunset Strip.'
I played a rich widow who was tem-
porarily short of money and chopping
up the living room furniture to use as
fuel. Somebody was threatening my life,
and Efrem solved the case." Then she
added wistfully, "It was a marvelous
show — practically a duet between the
two of us. . . ."
"When did you start dueting in pri-
vate life?" I asked.
A dreamy expression had come over
her face (she'll deny it when she reads
this, but it's true!) and it took a few
seconds for my question to bring her
back to earth. "When did we start?
I ... I really don't remember if it
was while we were making the show,
or just afterwards. But it was right
around that time."
"Do you see him often?"
Suddenly she was on her guard. "We
see each other . . . occasionally."
"How occasionally?"
"Occasionally."
"All right. Where does he take you?"
"He doesn't."
"But I thought you said you see each
other occa- . . . you know."
She smiled. "He comes over to my
house for dinner."
"Doesn't he ever take you out?"
She shook her head. "Never, except
for the night after Christmas."
"You must be a wonderful cook,"
I said. "What do you make for him?"
"Casseroles," she said proudly.
"Just . . . casseroles?"
She bristled. "Not just casseroles!
My casseroles. Things like Beef Bour-
guinonne and Chicken Veronique. Why.
I spend hours over them, chopping and
grating and simmering. . . . Did you
ever make a casserole? You can do
lots of things with them!"
Then she softened, and smiled. "My
only trouble is that sometimes the
things I prepare are too fancy. Once
I cooked a very elaborate Christmas
dinner for my mother.
"After my mother had finished the
dinner, she was so stuffed that she could
hardly speak for two hours. Finally
she turned to me and said, 'I think I'd
T like a cup of tea, dear.'
v "And as I headed for the kitchen to
R make it, she added with a kind of
desperation : 'Uh — don't — put — any-
thing in it, dear. Just— tea. ...'''
7n
Peggy laughed. "Fortunately, Efrem
hasn't complained yet."
"But it can't be just your cooking
that keeps him interested." I said.
"What do you two talk about when
you're alone together?"
"We often discuss music. As you
know, his father is a famous violinist
and his mother was Alma Gluck, the
opera singer. Efrem himself recently
read 'A Lincoln Portrait' with the Phila-
delphia Symphony.
"Aside from music, we talk about
our work. We're both 'New York ac-
tors,' and movie work presents certain
problems that our stage work didn't
prepare us for! There was that time
I had to work with sausage behind
my ear . . ."
"With what?" I asked.
"There . . . I've startled you again!"
she said apologetically. "You see, I
recently made a picture called 'Lad.
a Dog.' And the way you get the dogs
to come to you is to rub sausage be-
hind your ear so they can smell it.
For a Method actress like myself, it
was a little hard to accept this, but
I finally resigned myself to it."
"All right," I said. "I can certainly
understand why Efrem's attracted to
you. Your casseroles, your conversa-
tion, and — did anyone ever tell you that
you look like Janet Gaynor?"
"Quite a few people," she said matter-
of-factly.
"Then you obviously know you're at-
tractive. But tell me. Just what is it
that attracted you to Efrem?"
She gave me a look that said, "What
are you? Some kind of a nut?" But
then she put her reasons into words.
"Well, he's certainly a very attractive
person. And a completely charming
gentleman — absolutely ! " She rapidly
warmed to her subject. "It's a pleasure
to see someone who's so ... so thought-
ful. And considerate! So very consid-
erate. . . .*'
"I get the picture," I said. "I sup-
pose, with a man like Efrem available,
a girl would be foolish to date anyone
else."
"But I do date someone else," she in-
sisted. "I see quite a lot of Robert Q.
Lewis."
Now, that was a switch. From a
smooth, urbane leading man to a be-
spectacled comedian — disc jockey.
"Anybody else?" I asked.
She shook her head.
"Do you cook for Robert Q., too?"
She smiled. "No, I'm ashamed to ad-
mit that I never have. We always seem
to go over to his house for dinner. He
has a wonderful cook. But I do expect
to have him over soon."
"Is he one of those comedians who's
actually very serious?"
She giggled. "Not at all! He has a
wild sense of humor. Recently he did
a guest shot on 'Room for One More'
just as a lark, and in one scene he broke
us all up.
"He was supposed to run up the stairs
and say to me, 'Your husband!' I was
to ask, 'Something happened?' and he
was to reply, 'I don't know. We got the
smelling salts.'
"But he changed all that When the
camera started rolling, he rushed up
the stairs and said his first line. But
when I asked, 'Something happened?'
he shouted, 'I don't know — and I don't
care! And if you think I'm going to do
this show for scale, you're crazy.' Then
he grabbed me in a passionate embrace
like Rudolph Valentino. I nearly died
laughing.
"That's why I'm looking forward to
acting with him at the Pasadena Play-
house in a few weeks," she added.
"We're going to do 'Send Me No Flow-
ers,' and he's told me that after the
first week he always starts ad libbing
—'like Nichols and May.' Well, I'm no
Elaine May, but I'm willing to try.
"And there's one more thing," she
said, with a gleam in her eye. "We're
going to do a Twist in the play."
"Now I know why you took the part,"
I said. "But tell me — how would you
compare his sense of humor with
Efrem's?"
She thought for a minute. "Well . . .
Efrem's wit is very subtle, even though
he loves puns. But Bob's, as I said, is
wild. He likes practical jokes and sight
gags." Then she added diplomatically,
"However, I think they're both very
amusing men."
"And very eligible men," I pointed
out. "Which leads me to ask — just what
qualities are you looking for in a
husband?"
She smiled. "As a matter of fact, I
do want someone with a sense of humor,
first of all. And he should care a great
deal about his work. Since I've spent
so much of my life in a career, I'd like
to have a husband who's very interested
in his, so that I could share some of
that interest with him."
"You wouldn't mind marrying an
actor?"
"Not at all. I'd love it! We'd under-
stand each other so much better."
"So far, your prescription fits both
Efrem and Robert Q.," I said.
"Wait a minute!" she cut in. "Who
says I'm ready for marriage? As a
matter of fact, I don't feel that I am.
I think I need to be a little more mature
first."
And then she added, with a mis-
chievous grin: "Of course, there's a
point at which it becomes absurd to
wait any longer."
"When that day comes, will you want
a big family?" I asked — remembering
that Efrem has two teen-age children
from his first marriage, which left him
a widower. (His daughter by his sec-
ond wife is living with her mother.)
"Yes, I will — because I love chil-
dren," she said. "And I've really en-
joyed playing a mother on 'Room for
One More.'"
Suddenly I remembered something
about the mother on that show: Not
all her children were her own. Some
were adopted. And I wondered if the
same thing might happen to Peggy.
Peggy stars in "Room for One More,"
ABC-TV, Sat., 8 p.m., edt. Efrem stars
in "77 Sunset Strip," ABC-TV, Fri.
9 p.m. edt. Robert Q. has his own
program on KHJ Radio, Hollywood.
After all, anything's possible — par-
ticularly if Efrem learns to Twist.
— James Gregory
il
Hiimtiitimijimmmitimm
iiiitiit(itmirniJiiitiiii!iiiiiiiiiHiiiiJHiiiiuiiiiiinimiiini
KATHY NOLAN
(Continued from page 56)
anyone I've gone with. My theory is
that every date should become a friend
before any further development is
possible.
Nick Adams and I got a lot of pub-
licity when we were dating because
we were newcomers to the Hollywood
spotlight. We were eager to come up
to expectations. But we recognized that
our love was one of friendship, rather
than one for marriage. There never was
any blow-up, as some magazines de-
lightedly reported. I've great respect
for Nick s accomplishments. He and his
wife, Carol, are good friends of mine
and always will be.
I was unwillingly pushed into a new
phase as a playgirl after that. I went
to a few parties with very decent dates
and found I was considered a "starlet."
That was supposed to be marvelous,
but I didn't like that category. Either
a girl is an actress, dedicated to im-
proving her ability, or she is trying to
use the starlet bit as a front!
When I protested that I didn't go to
a party every night, my denials were
jazzed up into "colorful copy." I like
to have fun, but I'm not a kook! I
never did anything to win that classi-
fication.
It is a fact that I tried sky diving.
I parachuted out of a plane four
thousand feet high, along with Jim
Franciscus and Jody McCrea. I took
instructions carefully, wore the pre-
scribed garb, and did it because I
wanted to, not to be written about.
Well, it was said that I kookily insisted
upon wearing high heels instead of
boots, and a straw hat tied with a
ribbon under my chin rather than a
helmet. I wouldn't be here to tell this
if I had!
Tall tales don't fade away fast
enough. Vince Edwards just revived
that one with a new twist. In an inter-
view, he said that sky-diving isn't some-
thing to kid around with (I absolutely
agree) and then he used me as his
example. "Kathy Nolan fainted before
she could pull the ripcord, and if the
emergency cord hadn't snapped open,
she'd be dead." I did not faint, Dr.
Casey I I pulled the proper cord with
my own little hand. That's why I'm
still alive.
Certain magazines, attempting to be
sensational to sell more copies, have
caused me real heartache with their
misrepresentations. While I was won-
dering what I could do about this, I
heard from Walter Brennan. Somebody
had promptly handed him a magazine
with a terrible story about me. I loved
my character of Kate. She's like a real
person, and I'd never do anything that
would be offensive to any of the people
who love her. Mr. Brennan was properly
aghast. He lectured me for giving such
an undignified story. Of course, he be-
lieved me as soon as I told him I
hadn't, and that what I had said had
been rewritten without my consent.
It's terrible not to be able to trust
some people. At least it is for me.
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My father and mother and sister — my
friends who were near — had no doubts
about me. But it's cost my relatives
in St. Louis a lot of phone calls when
they've read what they assume is ab-
surd. They still want to be reassured,
and I don't blame them.
I would like to emphasize that, as
a whole, the press has been marvelous
to me. Some of my best pals are re-
porters, editors, and columnists. I can
be perfectly frank with them. They
have the good taste I like. But that
made the disappointments even harder
to bear.
Imagine my surprise when I read
false accounts of how I was feuding
with Connie Stevens, and then with
Dorothy Provine. I've never had a feud
with anyone, because I refuse to be that
petty. I'm not envious of the ability
I see in others. I admire it!
When an accident — a falling light on
the set — gave me a brain concussion
soon after I started as Kate, I was in
a hospital to recover for several months.
All my pals came to cheer me up,
deluged me with flowers and messages.
So what appeared in print? Sob stories
about poor, sad little me, utterly for-
saken and alone in heartless Holly-
wood! They may have aroused sym-
pathy, but that phony version made me
furious. I've built loyal friendships
wherever I've been, and this definitely
includes Hollywood.
Yet those uncalled-for cracks made
me so miserable I finally reached the
point where I flew back to New York
and my family there almost every week-
end. If I hadn't been under long-term
contract for the series, I would have
left Hollywood.
For instance, there was the date who
was so dented by the party-girl pub-
licity I was getting that he believed
it. He got too fresh when he was tak-
ing me home. I made him stop his
car on Sepulveda Boulevard, one of the
main freeways in Los Angeles, and I
walked home the rest of the way. It
was the last mile home, and I trudged
along in the dark. I'd do it again if
I had to.
A new way to say no
I valued the stories that had appeared
about me in TV Radio Mirror. This
is one magazine I always have been
glad to be in. But, after a while, I no
longer was asked for interviews. One
evening at an industrial gathering, I
had a chance to talk directly to Eunice
Field, the West Coast Editor. She's as
wise as she is pretty. When I made
UP my mind to ask her point-blank why
this magazine wasn't interested in any-
thing on me anymore, she answered
kindly, "Perhaps we've read so much
about the kookie things you do, you
don't seem the type for our readers."
She never knew that when I reached
home that night I cried, thinking that
over again. I hadn't suspected even
people as discerning as she is could be-
lieve I was at fault.
That's when I resolved to say no in
a new way.
Until then, I felt nothing could be
done. I'd firmly turned down the re-
quests that confused me. When I was
polite, but wouldn't go along with the
gags, I was written about as a bit
balmy, anyway. When I reached my
decision that I wouldn't cater to sensa-
tionalism, I was passed by for others
who could be played up for their antics.
But I realized, at last, that it was im-
mature of me to be so discouraged by
a few tricky operators and their fabri-
cated stories. I'm a romanticist, but I'm
realistic, ultimately. I saw I didn't have
to run away, shrink in silence, either.
From that time on, whenever I read
something that isn't so about myself,
I refused to despair. I try to get on the
phone to the person who wrote it and
DID KATHY SAY NO
ONCE TOO OFTEN?
Newspapers recently head-
lined Kathy Nolan's biggest
NO when she refused to sign
a new contract for "The Real
McCoys." Producer Irving
Pincus was quoted as saying
he'd offered to double her
$l250-a-week salary and
throw in a percentage of the
profits — but couldn't agree
to her other "demands."
"It was never a question of
'demands,' " Kathy tells TV
Radio Mirror. "Signing a
new five-year contract would
mean ten years of my life
given to one role — the most
important, most productive
years of a woman's life. I'm
twenty-eight. I want a home
and children. But no romance
could really thrive under
these circumstances.
"There's a lot more to
playing a regular part in a
series than working in front
of the cameras. Bob Fuller
would say, 'Let's go fishing
this weekend' — and I'd have
to answer, 'Can't. Sot to go
to Peoria for a personal ap-
pearance.' A couple of weeks
later, I'd say, 'Let's take the
day off and go to Laguna' —
and Bob couldn't make it.
"Now I'm not only making
records but have been asked
to sing and dance on TV va-
riety guest shots. I've been
approached about three
Broadway shows so far — two
musicals — as well as movies."
At the moment, Kathy is
glad she said NO to the new
TV contract. But is this one
time she should have said
YES? What do you think?
ask, "Just where did you get your
information?" To my astonishment, in-
variably they're glad to hear the facts.
I say no now, when I must, with a
happy feeling. For I dare to be myself.
Although Dick Crenna and I had been
a "team" in the series, I didn't become
as good friends as I am now with him
and his wife until this past year. When
we finally sat down to talk at length
after four years in the show, I was
amazed to discover even Dick had
strange ideas about what I did — thanks
to that old, kookie publicity!
Sometimes you can't win. When the
Spanish distributor of our show invited
us to Puerto Rico for a week, I was
able to fly there with Tony Martinez,
who is Pepino in "The Real McCoys."
Since he's from there, he was given a
royal welcome. The newspapers also
headlined that he was bringing me home
to meet his family because we were
getting married!
The man I'll marry
Marriage will be wonderful for me.
when the time is right for this step.
Bob Fuller and I have been going to-
gether for over two-and-a-half years
now. What you may possibly have read
about Bob and me is guessing, because
we haven't given any stories on love in
the past two years. Our plans are not
definite yet. Just because we have a
disagreement over a cup of coffee at
times, I'm not going to run to some writ-
er and weep over what is bound to be
a laugh for us in another day.
Bob is the exception to my rule of
always take time to become friends
first. I didn't have time with him! Mu-
tual friends arranged a blind date for
us, and friendship had to follow the
initial impact.
The reason I have never married is
that I want to be sure. I want to be
married only once. I have my silver
pattern and keep adding to it. I have
a hope chest full of china, guest towels,
and linen. I'd rather have yellowed linen
than the wrong man!
Bob and I still go out with others
at times. Keely Smith and her brother
are mutual friends of ours. Most of my
friends are married couples: the Ed-
mund O'Briens, the Danny Thomases,
the Andy Williamses, Nick and Carol
Adams, the Dick Crennas and the Charl-
ton Hestons.
I know interesting men in the busi-
ness world. Nobody ever talks about
my business sense, but Kathy Nolan
Enterprises has a suite of offices in an
ultra-modern building on Sunset Boule-
vard in Hollywood. I handle my real-
estate holdings, my interest in a print-
ing firm, in a bowling alley, my stocks,
personal appearances, and back a pub-
lic relations firm there. My own office
is efficient, but feminine. I've a silk
scene of a romantic spot in Rome
stretching across one wall. My desk is
a table with a pink marble top. All the
rest is cream and gold and pink.
So is my life, now that I've learned
how to say no! — as told to Tex Maddox
This summer, Kathy Nolan can still be
seen as Kate in "The Real McCoys."
on ABC-TV, Thurs.. 8:30 p.m. edt.
^
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81
MICHAEL LAN DON
(Continued from page 49)
Dodie learned that happiness is never
an easy prize. "There were times in
our marriage," Mike said later, "that,
for Dodie and me, were the happiest
we have ever known.
"There were times, too, of fear and
disillusionment. But until what hap-
pened lately, we always had faith that
our marriage would survive."
Mike and Dodie strove desperately at
times to walk the tight-rope of those
fragile in-between days — and to repair
the deepening misunderstandings of the
days before. Their separation was the
final admission of failure. Yet, at all
times, they were both religious in their
efforts to conceal the times of discon-
tent from the children.
We went to Mike to see if we could
get at the truth of the matter. Naturally,
he preferred not to comment on his
alleged relationship with "another
man's wife." It's a subject loaded
with implications which, discussed out-
side the courtroom, could - easily lead
to wrong inferences.
But on his three sons, on fatherhood
and his love for Dodie, Mike was very
articulate, willing and eloquent, though
he was obviously greatly disturbed by
the beating he is taking from all sides.
He clasped his hands tensely before
him. "They're my sons," he said quietly,
"and I'm their father until the day
they die — or I die.
"I am a good father to them, and I
think Dodie knows that. She knew it
early in our marriage, while she lay
in the hospital when I thought she was
dying.
"It was all of a sudden with Dodie.
She is a graduate nurse. It's strange
with people who are trained in medi-
cine. They are always the last to admit
how ill they are. Dodie was bright and
cheerful that morning. I'll never forget.
A few hours later, we were rushing her
to the hospital.
"I didn't learn until later that, from
her training, Dodie understood all too
well the seriousness of her illness. It
was one of the reasons she held off so
long, so as not to frighten me. But she
knew her recovery was uncertain.
"They watched Dodie for days before
they decided to operate. She was con-
scious and smiling every time I saw
her, but inside she was terrified — and
I didn't know."
The doctors knew an operation was
Dodie's only chance. The night before,
Mike and Dodie talked for a while and
then Dodie made the startling revela-
tion to Mike.
"Mike," she said, "I called my
mother. I told her that if anything
happens to me I want you to have cus-
tody of Mark. You're a wonderful
father to him, Mike, and he loves you."
Mark is Dodie's son by a former
marriage.
T Mike tried not to show his concern.
v "Until that moment," he explained, "I
R didn't realize how terribly serious
Dodie's condition was. I knew how
much she. too. loved Mark and to hear
82
that she was now considering the pos-
sibility of not surviving the operation
turned my heart cold.
"Yet in that moment of awful panic
and shock over Dodie, I could not help
feeling proud that she trusted me that
much. She was right, of course. I love
Mark as much as if he were my own
and I've never kept it a secret. It's
odd, but I think that Mark is more like
me than a natural son could be.
"But after the operation I had an-
other shock coming."
The doctor called Mike to his office.
"Sit down, Mike," he said. "You're
going to hear bad news."
"I can barely remember the night-
marish thoughts that raced through my
brain," Landon recalls. "Oh, God, I
thought, this is it! I know he's going
to tell me that Dodie is dead or dying.
At a moment like that, you pray with-
out knowing you're praying."
Mike listened in cold silence.
"This will be a shock to you," the
doctor said, gently, "but you will learn
to accept it. Mrs. Landon will not be
able to have any more children."
"I wanted to jump for joy," he said,
"but I knew that the doctor would
misunderstand. He didn't know that I
PHOTOGRAPHERS' CREDITS
tennon Sisters, cover color by Frank
Bez; Debbie Reynolds and Eddie Fisher
by Globe; Dick Chamberlain and Clara
Ray by G/obe; Vince Edwards and
Sherry Nelson color by Bernard Abram-
son of Vista; Lennon Sisters with Dad
by Frank Bez; Perry Como golf pic-
tures by Charles Trainor of Miami
News— Gilloon; Burns & Allen by Wil-
liam Woodfield; Cara Williams by
CBS; Mike Landon by CBS; Kathy Nolan
by Topix; Garry Moore— Carol Burnett
color by Jack Stager; Arthur Godfrey
by Wide World; George Maharis color
by Del Hayden of Vista; Sebastian
Cabot by John Hamilton.
was prepared to hear that Dodie's ill-
ness had been fatal. If I had shown
the relief I felt, I was afraid the doc-
tor might think I was happy because
there'd be no more children.
"The doctor mistook my silence for
shock and kept apologizing, saying he
was sorry and assuring me that every-
thing medically possible had been done.
So it startled him when, unable to con-
tain my feeling an instant longer, 1
grabbed his hand and cried, 'Thank
God! Thank God!'
"That doctor still thinks I'm a mon-
ster who doesn't like children. But I do.
"Nonetheless, to know I could never
have children with Dodie was a hard
blow to take. God knows, I wanted to
be a father. Then the second shock
came. What about Dodie? In pain from
surgery, had she learned that she could
not have another child? She had. We
helped each other through that crisis."
Mike stood up and paced the length
of the room. Then he sat down again.
"I know the feeling I have inside
me for children," he said. "That's why
I know I'm a fit father.
"When the 'Bonanza' series caught
the public's fancy and we knew the
show was a hit — and enough of a hit
to be established for a few years —
Dodie and I didn't think of big cars,
a house with a pool and the usual
sudden-stardom accessories.
'We put our arms around each other
and thought exactly the same thing,
together — 'At last! At last! We can
find another son!'
"We adopted Josh, now two. And a
year later, we adopted Jason, now one
happy year old.
"They're wonderful boys. I love them.
I think I am a good father. 1 know I
try harder at that than anything else
I do — even acting.
"I hate it when someone calls them
adopted. I think adopted is a word
that should be used only for the actual
legal ceremony and then dropped
from then on. They're my sons — period.
Not my adopted sons."
But with the success of "Bonanza,"
trouble arose in a marriage that had
lovingly weathered the tribulations of
failure.
"I don't like to say what caused
Dodie and me to break up," says Mike,
"but success, take it from me, is much
tougher on marriage than failure. Fair-
ure — with two people as much in love
as Dodie and I — can keep you together.
"All that I can say now is that suc-
cess drove us apart. I'm sorry. I can
say no more."
He didn't have to explain — it's the
oldest Hollywood story in the books.
Once you get on top, that struggle to
stay there takes over. Success is a
ruthless master in Hollywood.
But Mike says it will never take his
boys away from him.
"The custody and everything will
have to be worked out in court, but
my love for them is something that
can't be dealt with legally. I know
Dodie will give me visitation rights and
partial custody."
As to the question of governmental
agencies taking away such young chil-
dren from adoptive parents, Mike says
there is no danger.
"That was the first thing I had my
lawyer check. They are still our chil-
dren — always will be. I am still their
father and I hope I will be a good one.
"I think I'm a good father. I don't
think Dodie, in any legal action she
might take, will deny that.
"If she hadn't thought I was a good
father, would she have called her
mother the night before major surgery
and asked that Mark be given to me?"
Unfortunately, Mike's deep-rooted
affection for his three sons may not
be enough to avoid the stern exami-
nation his fitness as a father will face
if his relationship with "another man's
wife" is revealed as more than just
friendly.
In a sense, however, Mike's unhappy
lot at the moment is of a kind that
frequently plagues handsome, married,
well-known TV stars. In some instances,
simple business luncheons between a
star and an attractive married woman
start rumors skittering through the hop-
pers of the gossip-mills. Quick denials
by either party only rejuvenate the
reports, while the most carefully-
worded explanations can be deliber-
ately misinterpreted and slanted out
of all proportion to their significance.
It is why stars, in the midst of a con-
troversy, prefer to keep silent.
Mike Landon, however, is a strong
and intelligent man. Though his broken
marriage with Dodie may never be re-
paired, he is not without hope for him-
self and his sons.
Yet his fitness as a father, in the
eyes of the public — who, he hastens
to admit, have given him everything —
may be criticized. That public should
remember that this fitness is proven
not by the father but by the sons.
Mike's sons are everything children
should be. They are well-cared-for,
well-adjusted, polite and alert. Still,
no parent, natural or adoptive, knows
how good a job he's done with a child
until that child reaches comparative
ARTHUR GODFREY
(Continued from page 61)
He fought back and — so far, after
three years — he appears to have the
upper hand over the affliction which
itself never actually gave him pain be-
cause, as he said at the time, it was
camouflaged by a "cold, clammy, clutch-
ing fear that's gnawing at my vitals."
True to his promise, he went back
to radio and television and today he's
a flesh-and-blood monument to the joy
of living, thankful to be alive, solemnly
hoping he will walk the earth for many
more years beyond the fifty-eight that
he has passed.
"I love life so much," Godfrey says
today. "I love it so much I figure it's
just a shame to go. Every day I live
with dying— but I must go on because
I enjoy everything, even the pain.
"Death is not something to be pan-
icked about. It's just another expe-
rience. Unfortunately, the last one. Just
look at all the graveyards. People ly-
ing in them have found their peace.
But they are people who had the same
problems, the same fears, the same
ecstasies we possess. But look at those
graveyards and realize this — nobody
gets out of this world alive."
Therefore, Arthur Godfrey is com-
mitted to make the most out of his
life for so long as he has the strength
and stamina and good health to do it.
"There's no such thing as a lousy,
stinking day in my life," he tells you
in his salty vernacular. "I enjoy every-
thing — even the pain. I love to make
something good out of nothing. What
can you do if you're full of pain all
the time? You regard it as a part of
life.
"If I give way to it, I'd be sitting
in one of those damn wheel chairs,
full of narcotics, doing nothing.
"Am I going to let a little pain
keep me from getting on a horse if
I want to ride a horse? Am I going
to stop ice skating when I get the urge
to skate? The fun is in learning and
doing and improving.
"I do everything better than I ever
have before. I fly better. I ride better.
maturity, or a time when his actions
give promise of intelligent adulthood.
"It is easy to say I love my sons,"
Mike points out, "because I do. But
there is no real way a man can prove
that he loves his children.
"It's what he gives them that is
the greatest proof. It is what he teaches
them to become and, at last, what they
do become. You can't rush them
through their young years just to find
out how good a job you've done. All
you can do is give them your heart,
your honesty and your knowledge. I've
heard that all a parent can do is hope
for his children. I think that I, as a
father, can go further than that. I am
giving my sons hope. They need it as
much as I do." — Alan Somers
Mike Landon is Little Joe on "Bonan-
za," NBC-TV, Sun., 9 to 10 p.m. edt.
And I'm twenty times the performer
I have ever been."
It might appear Arthur Godfrey is
giving the "I" undue supremacy, but
this is not the case. This is a flat state-
ment of fact by a man who has meas-
ured life well and accurately. He knows
its real worth and he knows, too, that
he has been granted a new lease in
this existence; he is determined to
make the most of it. There is no brag-
ging in his raspy voice when he brings
the whole point home with a statement
like this one:
"I know I'm living on borrowed
time — and I love it. It's fun. And I
enjoy it every minute of the day. Young
people think I'm an old man and my
contemporaries think I'm nuts, flying
my plane, jumping in and out of swim-
ming pools, showing the horses. I've
been warned about outgrowing my con-
temporaries; a psychiatrist might say
I'm trying to prove something.
"Hell, I'm not out to prove a thing.
I'm just trying to live. That's all I'm
trying to do, the pains I suffer notwith-
standing. I've been battered around
quite a bit over the years and by now
I'm thoroughly used to the aches and
pains."
Arthur Godfrey, who has been cred-
ited as being an extraordinary sales-
man during his long period of pre-
eminence on radio and TV, is even
more the salesman today than ever. But
he is not plumping more energetically
for the Madison Avenue boys and their
accounts than in the past — Godfrey can
get the fans to rush out and buy what
he tells them without half trying.
His big product which he brings
under the hammer every day before his
audiences is not a commercial package
but, rather, a by-product of his own
invincibility — courage.
"I'll be here tomorrow, the Good
Lord willing," Arthur has always told
his viewers and listeners throughout
the years as he signed off. He still does
today. His faith in God is inexhaustible.
He transmits his subtle words of
bulldog courage in a variety of ways.
He may say:
"High adventure — that's what I've
tried to make my life. Anybody who
doesn't try to make life an adventure
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is a damn fool. We had no control
over our coming into this world and
we have none over when we leave it,
but the time in between is up to us.
The Good Lord put a lot on this earth
for us. but He doesn't force us to en-
joy it, if we are determined not to. What
a mess we can make!"
No man alive is so well acquainted
with fear as Arthur Godfrey. His can-
cer operation of three years ago might
have broken the spirit of many another
man and cast a shadow over the rest
of his days. Not with Godfrey.
"It would have been easier if I'd
known more about cancer— if I knew
then what I know today," Godfrey says.
"The fact is that there are now well
over a million people in the United
States who also once heard the diag-
nosis — cancer. And, after treatment,
lived on to hear the doctor say:
" 'Well, you've passed the five-year
checkup. Guess we can both relax.' "
Godfrey is referring to the "cure
rate" which the experts use as a yard-
stick in determining complete recovery.
A period of five years is regarded as
a necessary time gap after a lung can-
cer operation to conclude that the pa-
tient is cured, if there is no recurrence
of the disease in that time.
However, statistics of the American
Cancer Society show the "cure rate"
is less than five percent. Moreover,
some surgeons advise removal of the
entire lung, rather than a part, as in
Godfrey's case. But there's one happy
statistic working for Arthur — his was
a "left side" cancer, which, for reasons
not yet fathomed by the medical pro-
fession, has a lower mortality rate than
cancer of the right lung.
"I hope to hear those words that
I've passed my checkup two years from
now," Godfery says. "The doctor tells
me that so far there's no trace of can-
cer in me and that I'm in fine shape."
Indeed, in better shape than he has
been in years. By following his doctors'
advice, Godfrey has gotten down to
176 pounds and expects to shed another
six pounds so he'll tip the scales at a
healthy 170.
"When my time comes . . ."
Godfrey's experience with cancer and
his close call with death taught him a
great deal about fear. "Everybody is
afraid," he says. "That's human, to be
afraid. What's important is how yon
counter fear, how you control it and,
finally, overcome it.
"We all live with the fear that some-
day we're going to die and, when my
time comes, I'm going to be so miser-
able. But I'm not going to ruin all the
days between now and then worrying
about it."
Godfrey claims he acquired an "edu-
cation" in the months after his surgery.
"What I found out is hopeful in the
extreme. I want to share this knowledge
with the public, because it may help
other people face the ordeal of cancer
if they must — and escape it, if they
can. Many thousands of lives could be
saved if more people knew the facts
about cancer cure and prevention.
"First, what did the hospital teach
me? It exposed me to the miracle of
modern medicine. Surgery, followed by
radiation, saved me. As I later learned,
they now save 170,000 cancer patients
a year.
"Second, what did my reading on the
subject and interviews teach me? Up
until now, more than 1,700,000 people
in the United States have been cured
of cancer — these are men, women, and
children.
"And that's another thing I learned
— cancer can strike at any age. It
often hits hard at the young and de-
fenseless. More children die of cancer
than of any other disease."
Living on borrowed time
Over the years, Arthur Godfrey has
accumulated tremendous wealth. He
doesn't have to work but does, because
he gets sheer satisfaction and pure fun
from it. Godfrey claims he is a "prac-
tical realist," but he also maintains
that he is an "outrageous dreamer."
He might add that he also is an extrav-
agant spender, but . . .
"I don't go to Las Vegas and throw
my money away," he says. "That's
stupid. It's escape, like drinking is
escape. I don't want to escape from life.
I use my money to send kids to school,
for medical research, for things peo-
ple need to make life a little better.
"You know, it's true, that corny bit
about making somebody else happy and
you'll make yourself happy, too."
His money is poured at a fantastic
rate into the Arthur Godfrey Founda-
tion. The good this notable organization
does is incalculable, but an example of
its beneficence is the $70,000 airplane
it presented to the late Dr. Tom Dooley
for his medical missionary work in
Laos . . . and the wing it built on the
Loudoun County Hospital near God-
frey's home in Virginia.
Despite all that has happened to him,
despite the pain he suffers constantly,
despite the gnawing consternation he
is compelled to endure until the next
two years are up and he is "out of
the woods" — Godfrey can stand with
head high, proudly, for his significant
triumph.
"I love my work. I love what's go-
ing on in this life. I want to be a better
performer," he says.
And you ask, "Hasn't Godfrey
achieved the full and rich life with-
out having to aim for any higher? Why
doesn't he stop now?"
Arthur Godfrey's insatiable appetite
for this life will not let him rest on his
laurels.
"I've got to keep on going — or I'll
die."
That's Godfrey's credo.
It's the tenet of a man who must live
each hour, each day, each month in
hope and prayer — and with forbearance
for whatever the future might hold for
him.
That's the way it must be for Arthur
Godfrey, living as he is on "borrowed
time." — George Carpozi, Jr.
"Arthur Godfrey Time" is heard on
CBS Radio, Mon.-Fri., at 9:10 a.m. e.d.t.
(WCBS Radio, New York, 10:10 a.m.)
SEBASTIAN CABOT
(Continued from page 66)
isn't as good as in better restaurants.
As for 'a nice little hobby,' my husband
is the owner of one Bentley, a Lea
Francis, a Lagonda and a Jaguar. And
you heard him say he's thinking of buy-
ing two more of those things. Some
little hobby!!!"
Sebastian nodded distractedly, as his
eyes roved over the serving table beside
us. The sole was removed and replaced
with beautiful steaks and salad. It took
some time for him to choose a fine
burgundy wine to go with the course,
and only after he had savored the first
taste did he seem to fully realize what
Kay had said.
"Darling, you know the Bentley is
a family car, and in any case my stom-
ach would most certainly not fit behind
the wheel of a Cadillac or Buick. The
Bentley is for the difficult. It is a matter
of comfort."
I ventured the question that — if he
had only one vice, his love of foreign
cars — what did he consider his appreci-
ation of food and drink to be?
"That is a virtue — one of my great-
est. And you are right, it is an appreci-
ation and has been ever since I was
fired from the salad department."
The what department?
"My first endeavor at making a live-
lihood was as the salad chef in a little
restaurant called Frascati on Oxford
Street in London. My only memories
of that particular time are that there
seemed to be continual fighting — chefs
are worse prima donnas than actors —
and I was usually in the middle of the
fight. You see, I was bucking for the
position of pastry chef, I was getting
damned tired of living on salad, and
one day I got caught red-handed with
a lovely chocolate eclair. I got canned
the same day."
"How does one go from being a salad
chef to becoming an actor?" I asked,
as Sebastian further ordered espresso
coffee and a brandy.
"Actually, without having been one,
I don't think I would have become the
other. Working in a restaurant and hav-
ing learned the art of eating as well
as preparing the food — I, uh, well, I
naturally added some girth to my al-
ready generous proportions. When I
was fired, a friend told me he knew
of a job as chauffeur to Frank Pet-
tingell, the British actor. Before I
knew it, I had the job and had also
fallen in love with the theater. I set
about learning all the repertory plays
in which my substantial avoirdupois
would be an asset. In other words — if
they needed a fat man, I was ready
for them and, well, I've been working
ever since."
Working~ever since, in Sebastian's
case, includes dozens of British movies,
plays and TV shows. When he came to
the States for the first time, he kept
up the pace both on Broadway and in
Hollywood. Did he feel there were
any drawbacks to what is obviously a
busy and lucrative career?
"There are some, but one must always
take the bad with the good," Sebastian
replied, as he ordered another brandy.
Obviously, he was a man who also knew
how to take the good with the bad. It
was a very good brandy. Very old.
"I had to have my beard dyed blond
once for a 'Twilight Zone' episode and,
by the time the final day of the shoot-
ing was over, the roots were black
again. The word got around that I was
the only bleached blond in town who
had a beard and, really, I had a lot of
explaining to do to some of my male
friends who are not in the business.
"Another time, I was in Boston and
I looked up some relatives. The Cabot
family have done rather nicely in the
States, you know, and I thought it
would be appropriate if I presented my
credentials as a Cabot of England. My
grandfather, Charles Cabot, was a sea
captain and quite well-known, both here
and abroad. Unfortunately, the Boston
Cabots didn't seem to be very recep-
tive to an actor in the family. I was
royally snubbed. Frankly, I don't think
it had anything to do with my being
an actor. I think it was my grandfather.
In the old days, sea captains had some-
what the same reputation as the travel-
ing salesman in today's jokes. Far more
interesting in those days, don't you
think?"
Sebastian asked for the check and,
after signing his name and adding a
handsome tip, he rose to help his wife
on with her borrowed mink. "I must
say, though, that — in spite of the fact
television is by far the best way to
make yourself known to the public
and insure your financial stability — it
can sometimes backfire.
"We expose ourselves to millions of
viewers and hire press agents to tell
everyone how wonderful we are, and
then it kicks us back in the teeth. In
my case, it has to do with my cars. I've
had a few slight accidents and they
haven't been my fault. A fellow will
recognize my beard or something about
me and say to himself, 'Aha, there is
an actor who must make a lot of money
and probably carries a lot of insurance.
One little bump can't hurt anything.'
"I swear I've had some of them come
at me at fifty miles an hour. Very dis-
tracting."
As we were leaving the restaurant,
the maitre a" hurried up to Sebastian
and excitedly whispered something in
his ear. The portly man's face spread
into a wide and wonderful smile and
he beckoned us to return to the table.
"My dears, I have just been informed
that a bottle of old and extremely rare
Spanish sherry has been uncovered in
the wine cellar. We must certainly sam-
ple it before making our departure."
Kay dropped the mink back on a
chair and, seating herself, gave me a
look that only another woman would
understand. "Sebastian, that sherry is
worth a king's ransom. If that man
opens that bottle, I insist that I have
the couch — "
"Tut, tut, my love, remember the
budget! You know we can't afford it."
— Tricia Hurst
Cabot is Dr. Hyatt in "Checkmate,"
on CBS-TV, Wed., at 8:30 p.m. edt.
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(Continued from page 29)
of the mass drawing-power of television.
Perhaps, too, there was something
else that kept him awake. Certainly, any
man might lose sleep over Clara's well-
arranged five-feet-two. As for marital
qualifications, she leaves few to be de-
sired. Yet Dick does admit she should
have taken home economics instead of
algebra in high school. When it comes
to boiling a three-minute egg, she's a
whiz, but her culinary skill practically
ends right there.
Last March 31st, after months of
consulting cookbooks, Clara thought
she was ready to solo at the oven. It
was Dick's twenty-sixth birthday, and
she wanted to impress him. Clara ar-
ranged a surprise birthday party at her
Hollywood apartment. She invited
Dick's close friends; she bought dec-
orative party favors.
Then, by dawn's early light, she got
out the mixing bowls, the eggs, the
milk, the flour. Carefully, she double-
checked the recipe, measuring each in-
gredient as carefully as a jet pilot
checking his instruments before take-
off.
Finally the cake pans were filled
with the sweet smelling batter and she
was ready to slip them into the oven.
She smiled with satisfaction. This, she
thought, should be a birthday cake to
delight any man's heart — and especially
Dick's.
At the appointed hour, she opened the
oven door to take the cake out. Her
face fell. So had the cake. Instead of
the fluffy layers pictured in the cook-
book, she saw before her a dark brown
mass of flat dough. The mounds of
frosting she spread over the layers only
made things worse.
It was too late to bake another. The
guests were due any minute. Gamely,
Clara stuck in the twenty-six candles,
all the time wishing that she were that
many miles away. The cake looked like
a washed-out tortilla.
By the time Dick arrived and the
guests yelled, "Surprise, surprise,"
Clara decided to throw in the sponge.
She led him by the hand into the
kitchen. She pointed to the monstrosity.
Each took one look and broke out
laughing. The others came in to see
what was going on. They, too, started
to laugh.
It was enough to make a girl cry.
But not Clara. After a moment, she
was laughing louder than anyone.
Later, Clara and Dick drove all over
Hollywood trying to find a bakery that
was open. They managed to bring back
a cake, but it couldn't help being an
anti-climax.
The two are definitely a fun-loving
pair. When they did the showcase per-
formance for the college last Septem-
ber at the Pilgrimage Theater, it was
a satire on the opera "La Traviata."
Clara was dressed in a sheet-like gown
and, in the death scene, she placed a
rose between her teeth while Dick
clowned around her. They were the hit
of the show.
Look for them to possibly record to-
gether someday. In late April, Dick cut
his first record, "Three Stars Will
Shine Tonight" and "A Kiss to Build
a Dream On." An album session fol-
lowed. The next step is definitely a
duet.
Although neither has talked of mar-
riage to others, there seems to be a
secret understanding between them
that it will eventually happen. Two of
their close friends think it may be this
year.
There's a hitch, however, that could
delay the wedding. Clara Ray meets all
Dick's specifications to be Mrs. Cham-
berlain — except one.
"My wife must be understanding of
the problems of show business," he con-
fided. "She must like the arts. She must
be attractive — I don't mean a striking
beauty. She must want a flock of chil-
dren. She must be content to just be a
housewife and a mother to our chil-
dren."
Clara may not be ready to be "just a
housewife" — you could hardly blame
her. Like Dick, she has worked hard
and long for a career. Only recently
her ambitions have begun to bear fruit.
Can Clara give it all up now — or can
she take the chance that Dick will
wait until she's ready to quit? This
depends on how strong her love is.
Some believe she will. Others don't.
Perhaps Dick will relent on this one
demand.
One thing is certain. Dick won't be
pressured into any decision. This hap-
pened only a few years ago when the
actor was attending Pomona College.
Unofficially, he was engaged to a col-
lege sweetheart. They had planned to
marry when he finished college and felt
financially ready. The girl agreed at
first, but then changed her mind. She
wanted to marry him immediately.
Dick protested. Arguments followed
and he decided it was best if they called
the whole thing off. They did. He con-
fided later that he felt he was beinp;
forced into marriage. This feeling mr
him want to run. It made him unsu. j
of his love toward the girl.
Even today, Dick can't stand the
feeling of being pressured or forced in-
to a situation. Against his better judg-
ment, the studio arranged for him to
escort one of the young brood of Italian
sexpots to the premiere of "West Side
Story" last December. It was one of
those last-minute arrangements. The
studio had the tickets but no escort for
Rosanna Schiaffino, who was on the lot
making "Two Weeks in Another Town"
with Kirk Douglas. Dick volunteered
like a private in the Army does for K.P.
duty. He had nothing against the ac-
tress. He just disliked being put on dis-
play for publicity purposes. Sure
enough, the appearance of the two
together set every tongue wagging
around Hollywood, linking them ro-
mantically.
That was when Dick vowed — even if
it put him in the guard house — to refuse
any more of these "dates." When
Academy Award time rolled around,
hordes of press agents in town hounded
him to escort one of their clients to the
affair, knowing full well that any actress
spotted with Dick would immediately
become hot copy.
That was when Dick decided to bring
his romance with Clara out in the open.
He gave a week's advance notice that
he wasn't taking any actress; he was
taking his Clara. He realized that he
could no longer hide his feelings to-
ward her. He announced that he didn't
J I Mil I M) Mil M
inmiimiiNiiiiiiMiiiiiiiiii
IIIMU'lllHi.lHIMll
THE LENNON SISTERS
(Continued from page 33)
Lennons first said: "We are practicing
Catholics — we go to mass, we pray, and
we practice charity to all." But their
many friends and admirers, not only
of their own but other faiths, testify that
this is not idle talk. Of the Lennons.
they say: "Being a good Catholic and
a good person go together . . . and
they never act as if they had the ex-
clusive rights to goodness."
Kathy, Peggy and Janet, as well as
Dianne and the other children, feel
they are "very lucky" in their faith.
"It was given to us like a present,"
Kathy summed up, "something we were
given out of love, not because we did
anything to deserve it." While the girls
have treasured this gift of faith, and
never taken it for granted ("we know
how hard it comes to some people,"
Peggy has said) , they have never found
it necessary to question the tenets of
their religion or, for that matter, any
religion. According to what they say,
they have never felt a quake of doubt.
And yet they have managed to avoid
the slightest sense of smugness.
For this, they are probably in debt
to their mother, Isabelle ("Sis") Len-
non. Faith and the security of her re-
ligion did not come "like a present"
to her. As a child, she knew "the empti-
ness" of living apart from religious be-
liefs. There was also the unhappiness
of being too young to understand what
she was missing and how to go about
bridging the gap to God.
"Bill and the children are luckier
than they actually know," she points
out. "They may have problems, but
they've never had to grope in darkness
because, for them, there has always
been the light that comes from faith."
Though baptized Catholic, her moth-
er's religion, Sis never really took part
in her faith until she took instructions
and was confirmed just prior to her
marriage to Bill. Her father was Prot-
estant, and her parents separated when
she was very young. In this period of
disappointment and unhappiness, her
mother fell away from the Church. "I
have an idea my mother suffered more
than she might have ordinarily, because
of her loss of faith. She had no rock
to cling to . . ."
This lapse has since been put to
rights. When Dianne, eldest of the chil-
dren and now retired from the singing
group, was married, Isabelle's mother
attended the wedding communion along
with the entire family. She had re-
entered the Church a short while before.
"I'd always hoped she would come
back," says Sis, "but I also realized it
care if the whole world knew Clara
was his girl. Clara listened and smiled.
He wasn't Dr. Kildare to her. He was
Dick Chamberlain, the boy she met in
a classroom and may someday marry.
— Dean Gautschy
"Dr. Kildare" time on NBC-TV, Thurs.,
is 8:30 to 9:30 p.m. — edt, that is!
llllltllllttlltlltlllllilllllllllllllllllllllllltllllilllMIIIIIIIIIIIIIIIIHIIIIIMillllllMIMIIIIIIIIIIIIIIIIIIIINII llll IIM
would have to be when she wanted it
and felt the time had come. Bill and
I never pushed her. We don't believe in
that. Just as parents must teach their
children the value of faith by setting
a good example, so children must some-
times set an example for the parents.
When my mother saw that coming clos-
er to God could fill the void in her life,
she took the proper steps. If Bill and
I had any influence in this, fine. But
she did it on her own, and that is the
best way."
Young Janet, flipping through a mag-
azine, came upon the sentence, "Prayer
is a cry of hope." It nestled quietly in
her impressionable mind until, some
days later, she brought it to the atten-
tion of her sisters. "Does it mean you
always hope to get something when you
pray?" she pondered. "Because I don't
think that's right."
"Oh, you don't," teased Peggy. "And
what about all the things you've asked
for?"
"Maybe I ask for some things," al-
lowed Janet, "but I always remember
the story Daddy told us. You know,
about the little girl who prayed for a
doll and, when Christmas came, didn't
get one. And her brothers poked fun
at her and said, 'See, God wasn't lis-
tening.' And she replied, 'Oh, yes. God
was listening, and he answered. But
this time, He said no.' That little girl
didn't pray only when she wanted some-
thing. She prayed mostly because it
made her feel good. And I feel the
same way."
This led to a general discussion. Peg-
gy said, "Praying is like having a heart-
to-heart talk with God. It's true, God
doesn't answer you with words. But
He does answer in His own way. There's
nothing wrong in asking for things.
Our Lord said, 'Ask and ye shall re-
ceive.' But a lot of times God says no
because what you want isn't good or
right for you. You may not know it,
but God does."
"Praying gives me strength and it
makes me want to do something about
my dreams and hopes," said Kathy. "I
know I have to follow through, that
just praying isn't enough. Some people
think all they have to do in life is pray
and lazy around. Then they complain
when their prayers aren't answered.
People ought to work hard for what
they want, and show God they're really
sincere and need what they're asking
for. Then maybe they'd have better re-
sults from their prayers."
"Why all this talk about prayer?"
Bill asked, exchanging a look with Sis.
"Communication with God, the Virgin
Mother, the saints, why, that's fine. It
makes your life richer even if you don't
get what you ask for. But you'll notice
that your mother and I really enjoy
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our religion because we never let it
grow stale or routine. We go to study
groups and try to learn a little more
about the mysteries of the universe. We
read the lives of the saints and try to
benefit from their experiences."
"Yes," Janet put in, "and you leave
those books around so we'll see them
and get interested and read them, too."
"Well, at least we don't shove them
at you," Sis laughed. "Sure, the books
and pamphlets are here for you or any
of our guests to read — if they want to.
I keep hoping you'll want to."
"Oh, we read them and lots of times,
when we're on the road, we talk about
what we read and exchange ideas," said
Peggy. "But, after all, you don't have
to be a professor of theology or a priest
to obey the Ten Commandments and
follow the Golden Rule."
"You can do that without being a
Catholic," reminded Bill.
"That's true," Kathy mused. "God
says we must love every human soul
even if we don't happen to like the
person in the flesh."
"Daddy, you once told us that all
people are children of Abraham," said
Janet.
"I was quoting the Holy Father," ex-
plained Bill.
"I think bigotry is hateful and dis-
gusting," said Peggy heatedly. "We're
Catholics and it's wonderful for us. But
we mustn't forget there are other peo-
ple who lead decent, worthwhile lives
and they are Jews or Protestants or
some other faith. After all, God gave
the Ten Commandments to Moses, and
he was a Jew. And Jesus, who was born
of a Jewish mother, died on the cross
to save us all — not for just one race or
one religion."
"It's my opinion," said Janet, "that
there are good and bad in every re-
ligion and race. People are born a cer-
tain race and they can't help it or
change it. And most people go to a
certain church because they follow their
parents' religion."
"Like us, for instance?" Bill asked.
"Well, yes," Janet hesitated a mo-
ment. "I suppose if I'd been born in
a Jewish family, I would be a Jew in-
stead of a Catholic."
"On the other hand," said Sis
thoughtfully, "some religions are not
quite as strict as ours."
"The price we pay"
Peggy and Kathy broke into a giggle.
"You mean the movie list in the kitch-
en? Well, you've got to admit we con-
sult it before going to a show," laughed
Peggy. And Janet added, "And if I'm
going with you, you do change your
plans and see a picture that's approved
for the whole family."
"Yes, Janet," Kathy teased her.
"That's the price we pay for your com-
pany — or should I say for putting up
with your company." Janet tossed her
head and said, "Well — I hope I'm worth
it!"
Each year, the Lennons, as a family,
pledge to follow the Legion of Decency
list of approved films and books. Since
Peggy and Kathy are now past eighteen,
they are eligible to see films listed in
the "adults only" classification. Kathy,
perhaps the most outspoken and gre-
garious of the girls, may be heard on
occasion in the kitchen, muttering, "Oh,
heck! And I did so want to see that
picture!" But she doesn't go — and be-
ing the kind of girl she is, she manages
to enjoy the substitute movie.
"When you get right down to it,"
explains Sis, "some of these banned or
'adult only' films turn up on television
later on, and the whole family watches
them without remembering the listing.
Of course, it would be almost impos-
sible for the censors to go over all
the films being shown on local sta-
tions. However, Bill and I feel that the
important thing is not to deliberately
and flippantly set out to see or read
something that the Church considers
objectionable. And in most cases, when
films that are too mature for them
do come on TV, the kids switch to some-
thing else because they find them
boring."
"One thing about our religion," Janet
boasted. "We have real big families
and that's a lot of fun for kids."
"You mean," Bill teased, "that Jews
and Protestants have something in their
religion that prevents them from hav-
ing big families?"
"No, but we do have the biggest,
don't we?" demanded Janet.
This set the Lennons off into a round-
table laugh. Tossing her head, Janet
said, "When I get married, I want a
lot of children. Think of all the birth-
day parties and confirmations!"
"But what if you didn't have a lot
of children?" asked Bill.
"Then I'd adopt a few, of course!"
Although there is this firm loyalty
among the Lennons with regard to the
religion of their fathers, their practice
of it is never regimented. On Sunset
Boulevard in Hollywood is a huge sign
that reads: "The family that prays to-
gether, stays together." The Lennons
have managed to keep the essentials
of "togetherness" without resorting to
uniformity. Their attendance at mass,
visits to church for special missions or
confessions, are done in the main volun-
tarily and often according to individual
circumstance. Thus, when DeeDee was
going to public school (the Catholic
school in their vicinity had not yet been
initiated), she would drop into church
each morning before class. The younger
children attend daily mass at their
Catholic school. Peggy and Kathy still
go to church each morning, and often
visit it again during the day. The sing-
ing trio must often adjust their religious
obligations to the conditions in which
they find themselves when on tour.
There are occasions when some of the
family attend early mass while others
go later. It is no unusual event, how-
ever, when the family are all united, to
see the Lennons enter their church
as a body. But there is no rigidity in
this, merely another proof of their great
affection for one another.
Their roomy, comfortable, two-story
home in Venice, California, is what one
might expect of a devout family. Many
religious objects are to be seen. Some
of these are fine art pieces, sent them
as gifts from fans all over the country.
Again, not all of these works of art
are solemn in tone ; some are humorour
In particular, there is an amusing group-
ing of chubby porcelain monks. Biblical
scenes are set into the frame of their
large picture window, and these are
changed frequently "so that we don't
take them for granted and stop look-
ing." This from Bill, who is convinced
that pictures and sculptures are "re-
minders of our beliefs and our duty
to God." Some time ago, one of the
girls mischievously added several Afri-
can masks to their backyard "arrange-
ment," which has for its centerpiece
the Virgin Mother surrounded by foli-
age and a waterfall. "We showed it
to Monsignor Wade when he visited
here," Sis laughs, "and he turned our
GEORGE MAHARIS
(Continued from page 62)
the turnpike. The story's right there,
on the records . . . and perhaps some
of it is inevitable, with a huge but
close-knit family of cast and crew —
a real family kind of family, when
school's out and some thirty wives and
sixty children, join the caravan — all
traveling from one end of the country
to the other. Together, they've covered
tens of thousands of miles, put more
than sixty shows — and cities — behind
them. ... A lot can happen in that
time and space. A lot more than an
early press release predicted: "The
show stems from a desire to present
a more complete picture of contempo-
rary America authentically and real-
istically. Many of the cities and towns
where the show will be shot have under-
gone tremendous improvements and
face-changing in the past decade and
the episodes will help acquaint and up-
date TV viewers with the improvements
of our country. . . ."
Brother, they've undergone more than
the most daring City Fathers ever
dreamed! Says George himself: "That
writer should go on tour with us. May-
be the viewers are learning a lot about
our country, but I'm not at all sure
the people in the towns we've shot in
know where they are any more.
"You know, we never use sets and
we try to get the true feeling and at-
mosphere of whatever we're shooting.
One night, we were doing a scene in a
hospital in Philadelphia, and we darn
near caused a real-life heart attack.
A relative of one of the patients walked
into what had been his brother's room
— and there was a body on the bed
completely covered by a sheet.
"The poor guy fainted dead away.
He'd slipped past before anyone could
tell him his brother had changed rooms
with a bunch of actors and a dummy.
"We've moved into small towns and
changed the entire Main Street," George
continues. "One time, during the night,
the art boys converted the only bank
in town to look like another building
— man, let me tell you, the holy devil
broke loose the next day! The bank
directors had given us the go-ahead
sign, but the local citizens didn't know
what was going on.
"At nine o'clock the next morning,
kidding right back on us. He said, 'You
Lennons have it made. What the Virgin
Mother won't do for you, the witch
doctors will take care of.' "
Thus the Lennon Sisters and their
family move through the sophisticated
world of show business — with an intense
dedication to the things of God . . .
with pleasure in their devotions and
prayers . . . with tolerance for the con-
victions of others . . . and with a touch
of humor toward their own observance.
— Eunice Field
The Lennon Sisters sing on "The Law-
rence Welk Show," seen on ABC-TV,
Saturdays, from 9 to 10 p.m. edt.
iiilHiiirniiiinii,
folks were walking up to their bank to
make deposits or withdraw money, and
what did they see? No bank. The local
paper had to put out a special edition
to explain what was happening — but
not before a lot of depositors had de-
cided their bank president had most
likely skipped town with their life
savings."
That was one town with one bank.
But let George tell you what he and
his cohorts did to the city of Phila-
delphia itself. "We had to change the
hands on the big Ben Franklin clock
that's a landmark there," he recalls.
"Turned it back from midnight to ten
o'clock, to fit our story.
"I think I can truthfully say," says
this truthful though high-spirited trav-
eler, "Philadelphia will never forget
us. The police department, broadcasting
stations and newspapers were flooded
with calls. And half the people in
town were late to work, next day.
"One guy lost his job and we had to
write a letter to his boss explaining
what had happened, before he was re-
hired. How were we to know that every-
one in town set their watches by that
clock? Or that it hadn't been wrong
in something like a hundred years?"
Like to get your house redecorated
free? Landlords, line up at the left —
tenants, run for your lives — while
George tells the sad tale: "One time,
Red McCormack, our art director, com-
pletely redid the outside of a little
cottage. He got permission from the
guy who owned the place and who
rented it to a family which was away
on vacation.
"They put up fake windows over the
original ones, painted the front door,
placed shrubs around the front, even
built window boxes with flowers and
plants. When we finished shooting the
scene, the owner asked Big Red to
leave everything the way it was. He
liked the new appearance.
Home sweet hangover
"Unfortunately, the guy who rented
the place didn't feel the same way!
When he returned from his vacation, he
couldn't even find his own house. It
unnerved him so, he went to the near-
est bar and got clobbered."
Hangover or no hangover, there's
never been a real complaint from any
city Maharis & Co. have visited. Cer-
tainly not from any of the local citizens
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I
90
• City Stat e..
who have been cast as extras in the
series. In Mesqaite, Texas, a small ad
was placed in the local paper asking
for volunteers for bit parts and extras
— and 4,000 townspeople turned out.
It has been like this everywhere.
"You have to hand it to them," Ma-
haris says of all the communities in
which he's staged his capers. "They've
put up with a lot. They seem to get a
kick out of having a series shot in
their town. They've been just great
and are always cooperative."
George is pretty cooperative himself
— well above and beyond the call of
duty for a bachelor, as he proved dur-
ing a completely unplanned maneuver.
One day, as he was looking on at a
shooting, a cameraman's wife asked
if he'd mind watching her two-year-old
for a few minutes while she shopped.
Trustingly, he took one pale, flower-
like little hand into his big brown
paw and watched the mother disappear
from sight. Then — as it must to all in-
fants — diaper disaster befell his tem-
porary cherub. Drippingly obviously.
Without a moment's delay, George
whisked the tot into a nearby automatic
laundry, removed the offending gar-
ment and tossed it into a machine.
When it was thoroughly washed and
dried, he replaced it on the child. Then
they marched out of the establishment,
chins high, eyes looking neither right
nor left. Resourceful, that's George.
But, since that time, it's said he al-
ways looks twice before he agrees to
baby-sit. He makes sure the kid is wear-
ing rubber pants.
Much as he may startle other people,
it isn't easy to faze George himself.
Neither he nor Marty Milner uses stunt
men or doubles, no matter how danger-
ous the plot. The result has been some
pretty harrowing experiences no script-
writer ever imagined.
In the middle of winter, both stars
were strapped to girders over the Cam-
den Bridge in Delaware. Suddenly,
George's strap started to unravel and
give, and he clutched frantically at the
steel girder — his only hope of not fall-
ing into the ice-choked water two hun-
dred feet below.
As the entire company watched anx-
iously, crewmen inched along trying to
grab his arm and save him from cer-
tain death. Finally, they managed to
grasp one hand and pulled him to
safety.
Even ' as he jumped down to the
solid flooring of the bridge, Maharis
looked at the director and said firmly
(reasonably firmly, that is) : "Before
I go up there again, I want to take a
look at my contract. Diving two hun-
dred feet I don't mind — but there's
gotta be a clause about the water. It's
gotta read: 'Only tepid or warm water.'
"A guy could kill himself on those
overgrown ice cubes floating around
down there. I'm delicate."
He can dream, can't he?
Nobody planned such a cliff-hanger
for George, of course, but there have
been times when the crew turned the
tables on him . . . like the time he was
wearing opaque contact lenses for an
episode in which he was supposed to
have lost his eyesight. Though he prac-
ticed with them for three days, he
found it impossible for him to focus.
"That guy was in agonizing pain all
the time and his eyes were a wreck,"
says one of the crew, "yet now, when
we think back on it, we all howl.
"Maharis had always admired but
never met a well-known movie star, and
one of the crew could mimic her to the
life. Maharis was leaning against a
wall, during a break in shooting, when
this mimic came up behind him and
murmured, 'Oh, George, you are just
marvelous.' At the same time, a script
girl kisses George on the cheek.
"We thought Maharis was going to
jump ten feet. By the time he'd re-
moved his contact lenses and could see
again, no one was in sight except the
cast. He looked sheepish for a minute,
then put his lenses back in without a
word."
To George himself, the weirdest mem-
ory of all their travels was the time
two college boys followed their caravan
for two-and-a-half months. "They were
living the whole part — and believe it
or not — driving a Corvette identical to
the one Marty and I are supposed to
be driving!
"It got so they were making us both
nervous, because they aped everything
we did — dress, speech, mannerisms —
and when we took off for a new town,
there they'd be, waiting for us. It got
so they'd make suggestions and correct
the dialogue."
That was one time when George, in-
stead of haunting others, got to feel-
ing more than a bit haunted himself.
Like all the other things that have
happened along "Route 66," it's funny
in retrospect — but not to be recom-
mended or repeated. When the boys'
vacation was over and it was time for
them to go back to college, they were
flat broke. Maharis & Co. had to take
up a collection to get them back home.
Which gets us back to the original
gag: "No matter what George has got,
he shares it." He's always had a repu-
tation for being, not only a soft touch,
but an easy mark for anyone who
wanted or needed anything done.
"Money," he says airily, "isn't going
to get me what I want out of life, so
I just keep enough to keep me going.
Other people need it more. Other peo-
ple need a lot of things more than I
do. You help if you can."
He'll share anything except his hepa-
titis. That, he wouldn't wish on any-
one. And, all kidding aside, "Route
66" was mighty glad when he could
join them again in their travels. But
they still warn you: "Watch out for
that guy Maharis! You'll die laughing!"
— Pat Richards
"Route 66" whizzes along over CBS-TV.
Fridays, from 8:30 to 9:30 p.m. edt.
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TED MACK
(Continued from page 51)
"It usually takes a minimum of five
years of hard work, persistence and
polishing to get a foothold." And all
along the way, there are rebuffs, de-
feats, discouragements. Sinatra had his
share of them. For three years, while
he traveled with a quartet known as
"The Hoboken Four," under the aus-
pices of the show, he pleaded constantly
for a chance to sing alone — and never
got it. But he continued to try . . .
to audition wherever he could. . . .
Not everyone has to pick himself up
off the floor so many times, but every-
one meets with rebuffs and setbacks.
The secret is not to let any of them
defeat you permanently. If you're new
in town, or in the office, or at school,
and you're having trouble making
friends, don't give up. Make a point
of being pleasant, ready with a smile
and a friendly greeting, no matter how
hard it may be. Be helpful whenever
you can. Many a lifelong friend has
been made over a knotty algebra prob-
lem or by a thoughtful gesture to a
stand-offish neighbor. Go halfway, and
a little more — but without being
"pushy." The latter, says Mack, will
get you nowhere, either in or out of
show business.
3. Management. The young person
who has serious ambitions toward a
career as an entertainer probably comes
naturally endowed with both talent
and persistence. Management he has
to find later, and many a talented sing-
er, Mack says, has never made it big
because he hasn't been able to connect
with a good manager. (Not every
would-be Elvis has a Colonel Parker.)
Obviously, most people in other walks
of life are in no position to hire man-
agers to guide their footsteps, but there
are people eager to help — parents,
teachers, wise and willing older folk.
It was guidance of this sort that helped
Jackie Kennedy bring to the White
House a brand-new kind of charm —
and enables her to hold her own with
foreign dignitaries far older and more
experienced than she.
It was a wise mother who told her
teen-aged daughter, about to take off
for her first class party in a new school ;
"Forget about yourself. Find someone
who's sitting off in a corner alone and
try to see that she (or he) has a good
time. Pretty soon, you'll discover you're
having a good time yourself."
4. Beauty. No one, including show-
man Mack, underestimates beauty,
though in his recipe for success it
ranks fourth or maybe, he says, even
lower. The biggest winners, in or out
of show business, are seldom the great-
est beauties, and there's no point in
becoming a hermit because you don't
look like a movie star. Even Zsa-
Zsa Gabor (and who should know
better?) describes glamour as "being
neat and clean." Keeping your hair
brushed and shining . . . your nails
in tiptop shape . . . and your clothes
pressed — these are within the reach of
every girl and can soon become a
habit. And it's one that helps immeas-
urably to give any girl poise and self-
confidence.
5. Charm is one of those elusive,
indefinable qualities made up largely
of unselfishness, an interest in the other
fellow, and an eternal optimism toward
life. Invaluable in the making of a
winner in show business, it's just as
potent in everyday life. A young per-
former may feel like throwing a temper
tantrum when his accompanist goofs
— or his spot on the bill isn't what he
expected — but he learns quickly that
the old slogan about catching more flies
with sugar than with vinegar is still
true. Cameraman, sales clerk, teacher,
network brass, neighbor, boss— all are
pushovers for the smile-and-pleasant-
word routine. Administered freely and
often, it can get to be a habit, and a
much more beguiling one than the
grouch-and-gripe bit. No woman looks
charming when, mouth turned down,
she begins talking about her troubles.
6. Luck is important, of course, and
Ted Mack has dozens of examples to
prove it. Pat Boone is one. It didn't
take Pat five years, after his "Amateur
Hour" appearances, to get a toehold
in the professional world. He went
straight home to Nashville and a job
on the radio station there; has been
going onward and upward ever since.
And there is Fabian, who just happened
to be sitting on his front porch when
Bob Marcucci happened by, saw him —
and a new star was born.
In the same way, it's luck when a
girl happens to go to a party, and hap-
pens to meet that certain guy. Or
happens to apply for a job on the very
day there's a vacancy. Or holds a win-
ning sweepstakes ticket. Luck, good
luck, comes to everyone some time. The
important thing is to be ready, as Pat
Boone was, and take it from there. If
you have already learned to be your
own charming self, are well groomed,
interested, thoughtful, you can't miss.
7. Education doesn't matter much, in
Mack's opinion, when a young per-
former is getting started. Later on,
after he's established, it becomes of
inestimable importance. Translated into
successful living, it comes out the same
way. The "dumb blonde" is a classic
gag, but it's not always a joke. Not to
the pretty girl who marries before she's
out of school and finds, later on, that
she's unable to keep up with her in-
creasingly successful husband. Nor to
the cute teenager who wakes up one
day to find she's no longer a teenager
and that cuteness alone won't get her
by in the grown-up world. Night courses
will help ... or reading the daily
paper ... or watching the educational
TV programs.
8. Self-confidence. Among the hun-
dreds of teenagers who got their start
on the "Amateur Hour" and have gone
on to stardom is Paul Winchell, a lik-
able kid whom everyone wanted to help.
From time to time, they'd offer him
quips or jokes for his ventriloquism
act. Paul would listen, says Ted. Then,
often, he would shake his head. "That's
not for me," he would say — and that
was that. Even as a teenager, Mack
points out. Paul was willing to gamble
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Dept. X-541, 913 Walnut St., Des Moines 2, Iowa
on his own opinions and self-reliance.
Self-confidence and the poise which
comes with it are just as important else-
where. It's rough to walk into a room-
ful of strangers without feeling some
self-consciousness, but if you keep try-
ing, head held high and your lips
curved into a smile, it gets easier and
easier. Try it. Keep on trying it. One
day you'll wake up and wonder where
those butterflies have gone.
Of course, there are things Ted Mack
doesn't mention — things like money and
family background and all that they
SECOND HONEYMOON
(Continued from page 45)
their own selves in each other's per-
sonality. "At first," Mickey confesses,
"it was a battle of who was going to
win, who was going to make the other
do things the way he wanted them."
Mickey had led a life of coming and
going as he pleased. When he attempted
to retain the semblance of his old in-
dependence, Carlyn was hurt that the
life she offered didn't completely satisfy
him. Minor spats became major argu-
ments, until the flames of love were
doused by a storm of mutal recrim-
inations.
Twice they separated. Twice they
found they couldn't stay apart. Now
they're back together in a relationship
filled with more maturity and wisdom.
Says Mickey: "We understand each
other now. We've found that neither
of us had to change. I can do the things
I want. Carlyn can do what she wants,
too. The secret is we each stopped try-
ing to defy the other, to mold our
partner into the image we wanted to
see. We stopped trying to teach each
other a lesson — and everything else fell
into place."
Actress Ruth Warrick and her in-
terior-decorator husband Carl Neubert
tried for nine lonely years to prove
to themselves they didn't need each
other to make their lives complete-
but found it impossible. Here, the
original friction had been caused by
Ruth's need for independence and by
her European-born husband's equal
need for her to be a 100-percent wife
to the exclusion of anything else.
"He never could reconcile himself
to the fact that I could be two per-
sons," says Ruth. "He seemed disturbed
with my other identity as an actress.
I, on the other hand, was determined
not to lose my freedom, my independ-
ence, my individuality. I had been
raised by a father who constantly re-
minded me I was as good as any man.
. . . I had been taught I could make
my way alone without having to cling
to a husband for support. I couldn't
accept the fact that, once I was mar-
ried, I must give up freedom and re-
vert to the role of the subservient house-
wife of my grandmother's era.
"Do you know what those long, soli-
tary years of our separation taught me?
The difference between male and fe-
male. This lesson is a very deep one
that goes beyond marriage. Women
represent. But run down a list of the
currently popular singers. How many
of them came from well-heeled families
on the plushy side of the tracks? It is
just as true that success as a human
being depends not at all on these things.
Hauling one's self up by your own boot-
straps is an old American custom . . .
and the Cinderella story is one which
never grows out of date. — Betty Etter
See both winners and losers on "Ted
Mack and The Original Amateur
Hour," CBS-TV, Sun., at 5:30 p.m. edt.
piNiniiLiniiiniiiiiiJiiiiiMiiiii
lliliiiliiliiliilin
iiiiniiniiMiiiiiii
have fought so hard for equal rights
that, in many cases, they've lost their
femininity and become 'counterfeit men.'
"Now I know that being a woman
can be beautiful," Ruth smiles. "There
is nothing degrading or shameful about
it. I used to think, 'Why should I rele-
gate myself to becoming inferior?' Now
I know that womanhood is a specific
thing and something I should be proud
of. We are the spiritual, the intuitive,
the understanding, the sympathetic sex.
If we're wise, we'll stop fighting it and
will capitalize on what we can offer.
"Oh, I've learned such a great deal!
I've learned how shallow a victory
freedom, is, how lonely it can be. I
know now that it isn't necessary for a
wife to feel subservient. I'm proud of
being a woman.
"I realize now there was never any
doubt that Carl and I were always in
love. Our nine years of separation
erased any doubt there might have
been. Now we can face life with a
new maturity and a deeper sense of
security. Carl told me recently, 'I've
found I'll only love one woman in my
lifetime. I'm convinced there will be
difficulties and hard feelings sometimes
between us — but if you want something
badly enough, you can easily pay the
price by compromising and changing
yourself.'
"Let me tell you what maturity has
taught me," says Ruth. "I call it 'the
climate of love.' There is more to mar-
riage than just passion and physical
appeal. A union will always consist of
a varied climate — rain, storms, sun and
calm. Realizing this, I can accept the
cloudy days along with the brilliant
ones, remaining aware of the one
thing that really counts — Carl and me
together."
Is love more wonderful, the second
time around? The list is long of Holly-
wood couples who would answer a re-
sounding "Yes!" Peggy Cass and her
husband, Carl Fisher, are singing the
same refrain as Jimmie and Colleen,
since their recent reconciliation. . . .
Actor Frank Lovejoy might have com-
posed the words himself, as his testa-
ment to love when he and actress Joan
Banks, his wife of many years, ended
their separation. . . . Linda Darnell
and her airline-pilot husband, Robbie
Robertson, are humming the tune now
that they're giving marriage another try.
As more and more couples learn the
rewards to be found in a second honey-
moon, the list will undoubtedly get
longer. It can't get much happier!
— Marilyn Beck
CARA WILLIAMS
(Continued from page 46)
all my life in regard to myself, I tried
to get him to see the positive side of
life. But it's very hard for a man to
think positively when everything's been
so negative for as long as he can re-
member."
"Were you ever able to make him
change his thinking?" I asked.
She shook her head sadly. "No, not
really. He was always negative, always
unhappy, and he'd try to prove to you
why he should be unhappy. He'd show
you how much the breaks were against
him, and nothing anybody could do
would convince him otherwise. It was
very sad, really. I tried, but I couldn't
talk him out of thinking that way.
"In spite of all this, I was very much
in love with my husband, and he loved
me. In a way, that finally became the
one thing that broke us up, strange as
it may sound. For we possessed each
other too completely. He had never had
real love in his childhood, and now he
turned to me, expecting not only a
wife's love, but the mother . love he'd
been deprived of when he was a little
boy. He became dependent on me —
completely dependent — not only for
love, but for guidance. We became in-
separable, to such an extent that it
was unhealthy for both of us. We could
hardly breathe.
"I gave up my career when I married
Johnnie, and concentrated on his career.
But he was so weak, so incapable of
making a decision on his own, that it
got to the point where he couldn't make
a move unless I was there. He never
went to work unless I went with him.
He had to have me on the set all day
or he couldn't perform. It became a
real problem — and, for me, it was ex-
hausting. For I'd have to get up early
in the morning and go to work with him,
stay with him all day, and then come
home and try to take care of the chil-
dren. By then, we had a son, John Barry-
more III, and I also had my daughter
Cathy, from my first marriage. I had
to be a mother to my children and to
my husband, as well. So, naturally, I
couldn't get the cooking done in time
when I came home at night. I had to
neglect my housekeeping . . ."
I said, "His family seems to have
been responsible for his problems. Did
any of them ever try to help straighten
him out while you were married to
him?"
She smiled wryly. "Never. The Barry-
mores are a strange family. I think
they're one of the strangest families in
the world. Until I married John, I'd
never believed that a family could be
as far apart as his was. Everybody was
jealous of one another in the Barrymore
family. I just couldn't understand no-
body helping Johnnie, just as I couldn't
see why nobody ever helped poor Diana
Barrymore. But all the Barrymores
were very cold to each other."
Cara tried to give her husband the
love he needed so terribly, but at last
she saw that his dependence on her was
crushing them both. In telling about it,
her voice was regretful yet tender as
she spoke of this boy-husband who had
loved her too deeply and possessively
for his own good. "He was so terribly
insecure. He had never thought any-
one really cared about him, and when
he saw I loved him, he tried to hold on
to that love so desperately that he lost
it. Actually, I suppose that a great deal
of my love was involved with pity, be-
cause of the sad life he'd led. When I
finally realized that we couldn't stay
together anymore, I told him that we
had to break up. And so, in 1958, we
were divorced."
John went to Europe, hoping to find
success that had eluded him in Ameri-
can pictures. Cara resumed her own
career, and began to do surprisingly
well. In fighting her husband's battles
for him, she had gained a strength that
she was now able to put to good use on
her own account.
"But, most importantly," she told me,
"I started to take a positive attitude
toward my life for a change. I hadn't
been able to persuade John to give up
his negativism, but I suddenly realized
that, if I was to live a happy, success-
ful life, I would have to apply a posi-
tive philosophy to my own way of think-
ing. I tried it, and it worked. Today I
can truly say that I'm happy. I have
a fine son and daughter, and a won-
derful mother, and we all love each
other very much. I'm happy in my work.
"And it never would have happened
if I hadn't tried to help Johnnie — and in
doing so, discovered what was wrong
with my own life."
Yet her involvement with John did
not end completely when they were
divorced. A little over two years ago,
he persuaded her to join him in Europe,
telling her he wanted to try for a re-
conciliation. But there was no recon-
ciliation. Cara returned to this country
and went into the CBS-TV comedy
series, "Pete and Gladys," which
brought her more fame than she'd ever
known.
A new wife, a new life
On October 28, 1960, John married
Gabriella Palazzoli in Europe. Once
again, the marriage was a troubled one.
After a quarrel with his new wife. John
telephoned Cara and asked if she would
oppose his returning to Hollywood.
"You see, we have a divorce settle-
ment," she told me, "and he owes me
a great deal of money. That's why he
asked me if he could come back. He
wanted to know if I'd try to collect the
money. I told him that he didn't have
to pay it unless he could afford it — and
he can't afford it."
"It was generous of you to let him
come," I said.
"Well, he is my son's father, and I
can't help but like him. He's a very
nice boy."
"You keep using that word 'boy' in
relation to him," I pointed out.
She shrugged. "He is a boy. He's
never grown up, really."
John did return to Hollywood and
visited his son. He also dined with
Cara. What they talked about is some-
thing Cara hasn't discussed, but per-
haps it was helpful to him. For, when
he returned to Italy, he patched up his
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quarrel with Gabriella — a quarrel that
had seemed headed for divorce.
Today Cara prefers not to dwell on
the past. The present is too perfect for
that. Above all, she is concentrating on
making a happy home for her children.
John Barrymore III is seven years old,
and already a charmer, with bright red
hair and big blue eyes. Her daughter
Cathy is a teenager, and near the top
of her class at school.
"Are you extra careful to see that
your children have plenty of love and
affection — because of what happened to
your husband as a child?" I asked her.
She smiled. "Oh, I don't worry about
that, because we don't live the kind of
a life Johnnie lived. My children are
greatly loved and very secure. It comes
naturally! We live a very plain kind
of life. It's a bit chaotic at times, I'll
admit. People are always dropping in
on us, and my mother stays with us.
There's always something doing. But
we're very family-conscious and devoted
to each other."
"Would you like John Barrymore III
to become an actor and carry on the
family name?"
She shook her head. "No. Definitely
not. I'd rather see him doing almost
anything else. I don't mind if he enters
show business as a writer, or as a
iiiiiiiiiiiiiiiiiiiiiiiiiii
CAROL AND GARRY
(Continued from page 58)
in 1959, Carol opened in "Once Upon
a Mattress," at the off-Broadway Phoe-
nix Theater. The play was an instant
hit. But the Phoenix had other com-
mitments. When the contract time on
"Mattress" ran out, the Phoenix said
the play would close to make way for
"Lysistrata."
The news hit Carol and the others in
the cast like a hunk of falling scenery.
"It's ridiculous," Carol fumed. "We
were the first show in six years to keep
that theater open all summer. So now
we get evicted. It's a crime. Why don't
they take 'Lysistrata' some place else?
It'll probably be a bomb, anyway."
That was the way Carol spoke, but
her actions were even stronger than her
words. She had the mattresses piled high
during the final act, and right from the
stage she climbed atop and appealed
to the audience to write letters of pro-
test to the Phoenix people. She also
organized the cast's twenty-six members
and picketed the theater.
She aroused so much feeling that the
never-give-up Carol soon had the show
moved uptown to the Alvin Theater — on
Broadway. Crowds poured in. When
they had to leave the Alvin, to make
room for another show, the play moved
into the Winter Garden, then to the
St. James.
But Carol's leaving Garry's highly
popular CBS variety show was quite an-
other matter. It was a decision reached
by Carol only after long talks with
Garry about the best course for her to
take — obviously, she should travel on
a road paved by her own destiny. It
was not wrought by any disagreement
producer or director. But not as an
actor." She smiled. "For one thing, I
just can't stand the idea of a man pow-
dering his nose! And, anyway, he
doesn't want to act. Right now, he wants
to be an astronomer. He's crazy about
science, and he's even teaching me
about it."
She paused, and then said: "For in-
stance — did you know that the moon
isn't a planet? I had to find that out
from my son!"
"Do you think you'll ever marry
again?" I asked.
"I doubt it. At least not for a long,
long time. I think the main reason for
marriage is to have children, and I have
two wonderful ones. Also, I think it's
hard to combine marriage and a career
in TV. If you're in the movies, it's not
so difficult. But with TV it's impossible,
because of the long hours you work. By
the end of the day you're exhausted, and
you can't be a proper wife."
Then she grinned. "Besides, I'm mar-
ried to Pete for twelve hours a day. All
day long I do the dishes and fight with
my TV husband. When I get home at
night, I can use a little rest!"
— Chris Alexander
Cara Williams co-stars in "Pete and
Gladys," CBS-TV., Mon., 8 p.m. edt.
■I. Ml, ■HUN II-.
or dispute between them. "There never
was any pressure on Carol's part,"
Garry related. "She always was sweet
and pleasant in her way when she dis-
cussed the idea of leaving. And she
would tell me, 'Garry, even after I'm
gone as a regular, I'll come back to be
on the show whenever you want me.'
Carol is a very considerate girl."
When Carol announced her decision
to "go out on my own," she didn't mean
on her own TV show, where so many
are convinced that she belongs. Carol
cannot agree.
"I want to do Broadway shows," says
Carol, "but I don't ever want to have
a TV show of my own. It's too tough,
especially for comedy. No half-hour
film series for me."
Garry knows why Carol turns thumbs
down on her own video production.
"Carol has worked as hard as anyone
on my show," he related. "It was al-
ways a source of wonderment to Carol
how much work had to be put in for
one TV show. She never complained
about it, but she's an outspoken young
lady — and she would tell me that she
thought it was a rugged pace."
"She'll go far" is how Garry put it
to this writer as he talked about Carol's
departure. There was a trace of melan-
choly in Garry's voice as he retraced
his comedy star's career with his show.
"The day I saw her, I knew she was
something. In this business you see them
come and go, and I must have seen
thousands. I've seen them with and with-
out talent, with and without looks.
"But when I saw Carol and she be-
gan speaking to me — and later when I
auditioned her — I knew that show busi-
ness had a natural in her. It's some-
thing you can't quite define, this busi-
ness of looking at a lineup of beautiful,
glamorous girls, all dying to be selected.
And somehow you point your finger at
just one, often without knowing just
why.
"Yet I know why I hired Carol — be-
cause she was great."
Garry gave Carol her big break when
he took her on after she had auditioned
for him for his daytime show back in
'59. As a result of those frequent guest
spots with Moore, she was invited on
the Ed Sullivan show, then opened in
New York City's Blue Angel with a
brisk act that wowed the night spot's
sophisticated clientele.
The secret of Carol's instantaneous
success was that she never allowed a
leer, a wiggle, or an off -color insinua-
tion to creep into her routine. Night-
club stages from New York to San Fran-
cisco are littered, like the desert sands,
with the bleached bones of comedians
and comediennes who tried to keep it
clean and comic. Only Carol succeeded
where all the others had failed.
"I'm not here to purify the American
theater," Carol offers to explain, "but
I won't work even a teeny bit dirty. Off-
color stuff isn't my type of comedy."
Garry reminisced about her type of
comedy, "I used to watch her come on
stage. There was something about her
— an infectiousness, a magnetic, dy-
namic, audience-appeal quality that is
the true measure of star quality.
"She would smile and the entire set
would light up. Once, in making a show,
it became difficult to continue. She had
everybody in a state of near collapse
from laughing — and that included cam-
eramen, sound technicians, engineers,
and the whole production staff.
She'll try anything
"Her main asset is that she can be
enormously funny, yet retain her fem-
ininity and wholesomeness. She cap-
tures her audiences by doing what
comes naturally for her. And she is
always willing to try anything — never
quits learning."
Carol came up the hard way. She was
eight years old when the family moved
from San Antonio, Texas, to California.
Her father died a short time later. Her
mother wrote publicity for a movie stu-
dio.
She entered Hollywood High School
and concentrated on journalism, which
she hoped to make her career. She be-
came editor of the school paper. When
she went on to U.CX.A. and took a
course in playwriting and theater arts,
something happened to change the
course of her entire life.
"It was a happy accident," Carol said.
"We were required as part of the course
to participate in the college shows. The
first time I stepped on the stage and got
my first laugh — I knew that was for me.
It was heavenly."
From that day on, Carol had a single
goal in sight — the Broadway stage. In
her junior year, Carol was invited to a
posh party in San Diego with a fellow
student, Don Saroyan. Together they
entertained the guests with a scene from
"Annie Get Your Gun." Afterward,
Carol and Don were having coffee when
one of the guests told them: "I liked
you kids very much. What's your am-
bition?" His interest seemed genuine.
"To go to New York," said Carol.
"Why don't you go?" the guest asked.
"Money," Carol and Don chorused.
"What's money?" the man shot back.
"I came to this country broke. Now I'm
a millionaire. Come to my office Mon-
day. I'll give you the money to go."
"We thought," Carol said, "that may-
be he'd had too much to drink. But on
Monday we went to see him. He called
in his accountant and ordered two
$1,000 checks drawn up."
There were four provisions to the of-
fer: They couldn't tell the benefactor's
name ; the loan was for five years, to be
paid back without interest; it had to
be used to go to New York; afterward,
Carol and Don would have to help oth-
ers as the man helped them.
"We'll send you a regular report,"
Carol enthused.
"Oh, hell," the benefactor answered,
"send me a postcard once a year — a
Christmas card. And you'll pay back.
Others have."
"I made a fool of myself . . .".
Carol and Don came to New York in
1954 and, at first, jobs were scarce and
money scarcer. Then, slowly, Carol be-
gan to prove that her benefactor had
been right about her.
It was on Jack Paar's program that
she sang "I Made a Fool of Myself
Over John Foster Dulles." It so amused
the late Secretary of State that he asked
for a recording of it for himself.
"That got me a lot of attention,"
Carol said, "but I had to watch my
step. I could have quickly gotten the
reputation as 'that girl who sings the
song about. . . .' "
But she didn't. As Garry says, "She
was originally a stand-up comic and her
stuff was infectious, hilarious, and tre-
mendously popular. But in time Carol
realized this was not her forte. She
wanted to do more than the stand-up
stuff; her comedy sense had become
sharper. Basically, it's important to
realize she's a sketch comedienne, and
my biggest satisfaction was in being
able to persuade her that she is not a
grotesque girl but someone with a great
deal of charm and sex appeal. Above all
that, she was in every way a girl."
Carol Burnett is deeply grateful to
Garry for all, he's done in her interests.
"I adore Garry and I'll always be in-
debted to him for the fatherly attitude
he took toward me," Carol says. "His
little words of wisdom, his guidance,
the way he instilled confidence in me
when things went wrong — they've
helped make me the kind of performer
I am today. There are few people as
fine as Garry in this business. He's one
in a million."
Of course there are times, working as
close as Garry and Carol have, that mis-
understandings might come about. Was
Carol ever given to a display of tem-
perament?
"Temperamental?" Garry exclaimed.
"Why, Carol doesn't know the meaning
of the word. She's a warm, gentle girl,
although very outgoing and frank. But
lose her head? Never. Sure, she's un-
inhibited and she's got a free-swinging
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95
nature. But that's refreshing and de-
lightful to have around. Carol's a real
pro."
But wouldn't Carol have been better
off if she'd stayed in TV, from a finan-
cial standpoint ?
"Money? It means nothing to her. If
she had stayed with us, she would be
about the seventh highest paid per-
former on TV today, and that includes
the stars. But that's not her objective.
She wants more out of life than what
she's accomplished so far."
Today, Carol's main ambition is to
team up with someone like Julie An-
drews on Broadway.
"We work well together," Carol says,
recalling the time last year when she
and Julie appeared together on Garry's
show, and again more recently when
they co-starred in a "special."
We tried to find out if Carol might
have had any other reason for leaving
Garry's show and she assured us:
"No, none at all."
How about a romance?
Carol, who had married Don Saroyan
after they came to New York, and later
divorced him, has been linked ro-
mantically with press agent Johnny
Friedkin. However, she doesn't seem
ready to make a second grab at the
ring on the matrimonial merry-go-round.
The absence of Carol Burnett as a
regular will certainly take something
away from the Garry Moore show, but
it isn't likely to lessen its popularity
over the long run. So long as Garry
maintains the low-pressure approach
and remains the star, as he has been all
along, he should continue to keep his
grip right at the top of the ratings.
For, despite all the talent that Garry
succeeds in rounding up for his show,
one incontrovertible fact still remains —
Garry Moore is the star of "The Garry
Moore Show." It's Garry, with his cas-
ual, easy style, his quick wit, pleasant
humor, and refreshing personality, who
makes the show the smash it is. Garry
is a veteran of more than 25 years in
the business of broadcasting. Garry at
one time, back before 1949 when he
started "The Garry Moore Show" on
CBS Radio, considered himself a stand-
up comic. But when he got going with
his own program, he found the response
was always bigger when he played
himself.
One of his finest qualities, which is
admired by the critics, is the conscious-
ness he shows for his public, the respect
he displays for his vast millions of view-
ers. He observes the standards of good
taste, as do Carol Burnett and all the
other performers who appear before the
cameras on his show.
Her association with Garry Moore
will always serve as a reminder that
quality and class and good taste are
still in vogue.
Garry sums up his feelings this way:
"It's true that I've been almost like
a father to her in her career. But it's
like when your son becomes of age at
twenty-one and says he's leaving for
another home.
"It'll be marvelous to lean back and
watch her fly.
"She's one of the great talents — and
I wish her all the best. . . ."
(P.S. Carol paid the $1,000 loan back
to her benefactor in 1959, with heart-
felt thanks. ) — Chrys Haranis
"The Garry Moore Show" returns next
fall to CBS-TV. "The Garry Moore
Radio Show" continues throug'h summer
on CBS Radio, M-F, 10:30 a.m. edt.
(WCBS Radio, New York, 11:30 a.m.)
GRACIE ALLEN
(Continued from page 42)
charming couple. Helen is much young-
er than Steve Crane; she's much closer
to Ronnie's age. Tongues wagged every
time they appeared at a different bistro.
"Imagine!" one gossip hissed. "Going
out in public like that ! She's a married
woman. They both must be crazy in
love — or just plain crazy!" The talk
grew louder when Steve and Helen
separated after a year of marriage.
However, a few weeks later, they were
reconciled. Ronnie was still in the pic-
ture, though, and he and Helen soon
resumed dating.
Then, in April, it happened. Ronnie
happily informed his friends — if not
his parents — that Helen would divorce
Steve and marry him. The news was
kept from Crane. He and Helen were
still living under the same roof. Steve
thought happily so, too.
Finally, Helen could stand it no
longer. She broke down. She confessed
her love for Ronnie and asked Steve
for a divorce — a quick one. To say the
least, he was flabbergasted. Yet he gave
his permission and Helen hopped the
first plane to Atlanta, Georgia, where
she could obtain a divorce in six weeks.
Steve wasn't the only one who was
surprised. George and Gracie were
dumbfounded. Ronnie hadn't told them.
When a reporter called for a comment
the next day, Gracie said: "I didn't
know anything about it until I saw it
in the newspaper. We don't know the
girl too well. However, we wish them
a lot of luck.
"Maybe a mother is the last to
T know," she said. "I met Helen when
v Ronnie brought her to see me when
R I was sick. But then, he brought a
lot of other girls, too. All I know is
that she is always leaving her husband
96
and then going back to him. But ask
George — maybe I'm too sick to be told
the truth."
When George was asked about it,
he said, "If you find out anything about
it, let us know! Ronnie has dinner with
us twice a week, but he's never told us
anything about getting married."
It wasn't the first time George and
Gracie found themselves in such an
embarrassing position.
The phone rang in the Burns house-
hold on August 7th, 1953. Then, too,
it was a reporter. He was asking about
their daughter eloping to Nevada City
with Young (Bill) Wilhoite III.
It was news to them. However, al-
ways the good showman, George man-
aged to sound pleased as he said:
"Gracie and I know the marriage will
work out just fine."
A sudden elopement
Sandra was only eighteen then, and
the couple had previously announced
their engagement. George and Gracie
were planning a giant wedding that
would be the talk of Beverly Hills for
years to come. But they didn't get that
chance to see their daughter walk down
the aisle in full splendor. Sandra and
Wilhoite were married instead in a
dusty office of a nearby justice of the
peace.
The Wilhoites presented the Burnses
with two grandchildren — Laura, now
seven, and Melissa, now five. Yet George
was wrong about the marriage working
out. They separated after three years
and they were divorced in 1958 — the
year Gracie retired to devote more time
to her family.
Sandra surprised her parents a sec-
ond time. Three years ago, she eloped
to Mexico with TV director Rod Ama-
teau. Again, George had missed the
chance to give his daughter away. "Gee,
we didn't know," Gracie told friends.
"Otherwise, we would have gone witli
them."
This second marriage ended in April,
just as Ronnie was busily planning his
wedding to Helen DeMaree. He'd even
fixed a date: July 9th.
"It's just one of those things," Sandra
said with remorse, as she revealed her
second marriage had floundered. "I feel
badly about it. But we both feel it's
for the best."
A few days later, Ronnie felt badly,
too. His Helen had changed her mind.
"I'm not getting the divorce," she
wept from her hotel room in Atlanta.
"I want to go back to Steve — if he'll
have me.
"Ronnie and I had a long talk. We
decided it really wasn't love. It's best
this way."
Again, George and Gracie had to
learn the news at second-hand.
Why? What had happened to create
such a distance between them and their
children? Weren't they good parents?
Too often, success unties family
bonds. "George and Gracie were won-
derful parents to both Ronnie and
Sandra," a close friend told TV Radio
Mirror. "Perhaps, they were too good.
George gave Ronnie everything he
wanted. He thinks the world of that
boy. I think Ronnie resents this in a
way. He feels guilty. Guilty because he
hasn't lived up to his parents' success.
Until he can make it on his own, the
situation probably won't change."
Both George and Gracie are in their
sixties; their children still in their
twenties. Perhaps, the future will be
good to them. Perhaps, one day soon,
the team of Burns and Allen will enjoy
its greatest triumph. Far more reward-
ing than a standing ovation at Madison
Square Garden would be the chance
to be a closer part of Sandra's and
Ronnie's lives again. Their friends hope
they get that chance. They deserve it.
— Rocky Rockwell
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SEPTEMBER, 1962
MIDWEST EDITION
VOL. 58, NO. 4
Eddie Fisher
Connie Stevens
Robert Horton
E. G. Marshall
Vincent Edwards
The Lennon Sisters
Hugh Downs
Leslie Uggams
Fred MacMurray
Shelley Fabares
Jacqueline Kennedy
As the World Turns
Robert Conrad
Frank Sinatra
Barbara Hale
IT HAPPENED THIS MONTH
25 Eddie Has the Last Word Cindy Adams
26 "Come Live With Me and Be My Love" Kathleen Post
30 Bob Fights for His Life Jane Ardmore
32 No Law Against Being Different! Doug Brewer
34 His Mother's Heartache George Carpozi Jr.
38 The Lennons Discuss Mixed Marriage Eunice Field
40 "I've Stopped Beating My Wife" Bob Lardine
43 When a Dream Comes True! Paul Denis
46 The Road Back from Hell Fred MacMurray
48 He Dated My Sister . . . He'll Marry Me! . .Shelley Fabares
50 Is the Honeymoon Over for Jackie? Ed DeBlasio
54 Can a Family Be Too Close? . . .Art Henley and Dr. Wolk
56 I Just Don't Belong Mrs. Bob Conrad
58 What's Right With Sinatra Flora Rand
62 "Raymond Burr Saved My Marriage". .. .Dean Gautschy
BONUS: A MAGAZINE WITHIN A MAGAZINE
17 Close-up on Gene Krupa 21 Pieces of Eight
18 Album Reviews 22 Eddie Fisher's Real Friends
24 The Wonderful World of Ed Sullivan
WHAT'S NEW? WHAT'S UP?
4 Information Booth
6 Earl Wilson's Inside Story
10 What's New from Coast to Coast
74 Photographers' Credits
SPECIAL: YOUR MIDWEST FAVORITES
Kent Slocum
Rex Davis
Rita Bell
Pat Conway
Richard Eastham
65 On the Sunnyside (KOTA-TV)
66 They Believe in Him (KMOX)
68 Rita's a Real Bell-Ringer (WXYZ-TV)
70 Too Tough to Die! ("Tombstone Territory")
CLAIRE SAFRAN. Editor
EUNICE FIELD, West Coast Editor
TERESA BUXTON, Managing Editor
LORRAINE BIEAR, Associate Editor
ANITA ZATT, Assistant to Editor
JACK J. PODELL. Editorial Director
JACK ZASORIN, Art Director
FRANCES MALY, Associate Art Director
PAT BYRNE, Art Assistant
BARBARA MARCO, Beauty Editor
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Which Twin Has the Doctor?
JPTio w £/ie one m>i£^ f^e ZioiVi broth-
er? Vincent Edwards (Ben Casey) or
Richard Chamberlain (Dr. Kildare) ?
What is his occupation?
N.W., Berlin, Pa.
There's only one Dick Chamberlain.
Vince has the twin. His name is Bob
and he's a bus driver. For a full-length
story on Vince Edwards, turn to page
34.— Ed.
Mystery Man
There is a very handsome man on
"Sing Along with Mitch." He's one of
the singalongers, in his early fifties, I
guess, very distinguished-looking with a
white mustache. Who is he? Is he Brit-
ish? M.U., New York, N.Y.
Adrian Revere was born in Minne-
apolis 55 years ago. He lives in Deep
River, Connecticut, now, with his wife
Margaret and son Karl, 32. You may
have seen Adrian also in magazine ads,
because he occasionally models for
them. His favorite job, however, is sing-
ing-along. — Ed.
Here's Rowdy
/ would like very much if you would
tell me something about Clint East-
wood, who plays Rowdy Yates on "Raw-
hide." I enjoy your magazine very much.
J.P., Holmes, N.Y.
Clint is 6' 4", weights 194, was born
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tended Oakland Technical High School
and after graduation didn't know what
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ing while he made up his mind — until
he was drafted in 1951. His job in the
Army was teaching swimming and sur-
vival courses. A movie was filmed while
he was at Fort Ord, California, and
director suggested he start thinking
seriously about acting. Back in civvies,
he enrolled in the drama course at Los
Angeles City College and met a co-ed
from the University of California, Mag-
gie Johnson. They were married in 1954.
Clint likes everything about his co-star-
ring role in "Rawhide" — except the long
hair and the sideburns. — Ed.
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Write them in care of NBC, 3000
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Why doesn't TV bring on some
dames?
I'm pretty sure I'd just as soon
see Jayne Mansfield or Zsa Zsa
Gabor, as, let's say, Vince Ed-
wards — and I love Vince, who in
real life is a personable Joe. Of
course, Jayne would have to do
something, and the question is, can
Jayne do anything besides play that
violin? Or come out of her shoulder
straps? And can Zsa Zsa do any-
thing (that wouldn't get the pro-
gram thrown off the air) ?
The sad truth is that some of our
most beautiful women aren't seen
on TV — and I think it's a great
shame.
And apparently the reason is that
EARL
they can't do anything. Well, the
solution for that is to give them a
program on which they don't have
to do anything. You think that's
silly, do you? Well, a few seasons
ago there was a show all set to go,
with Hal March as emcee, called
simply, "The Most Beautiful Girl
in the World." It was set to go — and
it went— it went away.
Well, let's bring it back.
Just think of the mail it would
get . . . the angry mail from not-so-
good-looking women who would
scream their heads off about those
pretty women being on TV and not
able to do a blasted thing!
Maybe if we have to have shows
about doctors, lawyers and cowboys.
we could have Marilyn Monroe,
let's say, playing a doctor ; Brigitte
Bardot as a lawyer, and Natalie
Wood or Lee Remick as a cowboy.
Sure, as Mr. Minow says, we
ought to have serious viewing:
Things like the Peace Corps in Af-
ghanistan. But couldn't we have
Liz Taylor or Arlene Dahl or
Marie McDonald introducing the
emcee, or moving the furniture
around, or something . . . ?
I suppose my idea will never catch
on. But think back to the days when
the most exciting thing on TV was
Faye Emerson or Dagmar.
And then there was Jackie Ken-
nedy's tour of the White House —
and, personally, I don't think that
WILSON'S
Special four-page gossip section: Who's in? Who's out? What's up? Each and
every month, TV Radio Mirror brings you the scoopiest column in any magazine !
many people were only interested in
the White House.
In case there's nobody around
willing to find the beautiful girls
for the shows I'm suggesting, I will
even donate my time and talent to
lead the search. That is to say, the
great woman-hunt.
What do you say, fellahs? (Wom-
en — I wasn't asking you!)
That Paul Anka! His father,
Andy Anka, was telling me the
other day: "You know Paul wrote
the theme music for Darryl Zan-
uck's 'The Longest Day'?" This I
knew and said so. . . . "And Sammy
Davis's new hit, 'Everybody Calls
Me Joe'? . . . And of course he
wrote his own new song, 'A Glass of
Wine and a Steel Guitar.' . . . And
you did know, didn't you, that he
wrote all the music for the Copa-
cabana show?"
I was about to say, "Make it easier
for yourself. What didn't he write?"
Strange thing about Paul's "Glass
of Wine" song . . . Dean Martin
needed a song and asked Paul to
suggest something.
"I've got something," Paul said,
long-distance, New Jersey to Cali-
fornia. "I'll cut a demo and send
it right out to you."
Liz Taylor: Is she what TV needs?
Paul recorded "Glass of Wine" —
and when his manager, Irv Feld,
heard it, he said, "I won't let you
send that to Dean Martin. You're
keeping this song for yourself!"
"But I promised . . ." protested
Paul.
"No matter. . . ."
So Paul kept it and it became a
fast hit.
Incidentally, Paul moves into the
very sophisticated adult class with
this song — doing the wine-drinking.
I mean. In real life, Paul likes to
sip a "Fogcutter," a rum drink
served at Trader Vic's and else-
where, with his girl friend, model
Ann Dezogheb.
"That, and a little wine, is all I
ever drink," says Paul — who will
have turned twenty-one when you
read this.
I asked Paul what turning twenty-
one would mean to him.
"I'll become twenty-one while
working in Las Vegas," he said.
"When I really get there, I'm going
to put fifty dollars on something — I
don't know what. That'll be the sign
that I've come of age."
Madison Avenue had a laugh at
a report that NBC might again un-
dertake to get Marilyn Monroe
to do "Rain" on TV. The insiders
knew it was laughable, because N3C
spent $75,000 to $100,000, a year
ago, on the (Please turn the page)
Now that he's turning twenty-one, singer Paul Anka's got everything he needs — including a pretty girl of his own.
continued
project — and got nothing for its
money but headaches.
DON'T PRINT THAT! The rea
son that Mort Sahl has used Inger
Stevens on TV every chance he
gets is becoming obvious as I write
this. He is just simply nuts about
her. . . . Peter Lawford — good as
he is, and good as his connections
are — has to look around for parts
these days, just like everybody else.
. . . My Gorgeous Mother-in-law,
who's seventy-seven, thinks that the
team of Marty Allen and Steve
Rossi, which has appeared so often
with Garry Moore, is a more hilar-
ious duo than any other comedy
team working. . . . Perry Como
Carol has her husband to thank!
wishes people wouldn't circulate
those rumors that he didn't want to
quit telecasting from the Ziegfeld
Theater and move out to Brooklyn's
big NBC studio. Perry claims he
actually prefers Brooklyn to Man-
hattan — you see, it's nearer his golf
course.
FEARLESS FORECASTS: One
of the fat young comedians who is
so personable on TV keeps getting
into trouble playing night clubs
(where he started). He hassles with
the customers and privately pre-
dicts, "I'll have to get out of night
clubs." And he will have to! . . .
Strange that an Eastern TV show
noted for its nice "family appeal"
is heading for difficulty over its own
"family trouble." . . . Frank Si-
natra took his pride in hand and
went personally to Irving Berlin
and Howard Dietz to seek rights
for Reprise Records to the songs of
"Mr. President." So, naturally, with
that kind of treatment, he's probably
going to get them. . . . Marie Wil-
son ("My Friend Irma" of a slight-
ly earlier era) is on her way back
to TV after doing very well again
on stage and in the movies. . . .
Garry Moore is getting to be known
as "Mr. Nice Guy" of CBS. Artists
tell us he comes up to them before
the show's even over and tells them
how well they've done — even if they
haven't. "You will go to any lengths
to please a guy like this," one star
said.
Gracie Allen needs a lot of rest
these days to keep her health good —
but she's pleased at the way George
Burns is working out with his new
comedy partner, Carol Channing,
as they push on toward a regular
TV series.
"Now, you know, Carol," Gracie
told Miss Channing, "there are hun-
dreds of dames I wouldn't have let
work with Georgie Porgie — but you
I like!"
One reason she likes Carol is that
she feels Carol is much like her.
"Both of us actually believe all those
lies George tells us," Gracie ex-
plains. By "lies" she means some of
the comedy material and show busi-
ness yarns that George remembers.
George and Carol got acquainted
through Carol's husband, Charles
Loew, who produced the George &
Gracie TV show. Burns gave Carol
and Charles a party when they wed.
Getting obvious: Mort and Inger.
Carol, victim of a bad memory
for faces, decided to learn the names
of everybody by memorizing the
place cards on the main table. She
wouldn't have to know the faces —
she'd just remember that Jack
Benny sat at the right of a Mrs.
Smith and Mrs. Benny at the right
of a Mr. Brown. Carol had every-
thing worked out pretty well until
George discovered her trick — so he
mixed up the place cards deliberate-
ly, to mix Carol up.
They've been dear friends since
the mix-up.
Red Skelton, one of TV's Great
Men, kept a wary eye on the stock
market during the crisis a couple
of months back, and he tells this
story of one of his speculative sorties
then:
"I called up my broker, bought a
certain stock — and it went up. I
called up the next day, bought some
more of the stock — and it went up
again. This continued for a couple
of days, but one day I called to ask
how the stock was doing and my
broker said it was down.
" 'Down?' I said. 'Sell.'
"The broker replied, 'To whom?' "
It may not have looked that way
to viewers, but just about the most
ad-lib show on TV in the last couple
of months was Perry Como's fare-
well show of the season. That's tra-
ditionally the time when Perry and
his cast of regulars play the game of
"no-holds-barred," and everyone
joined in on the fun.
After Perry had inched up behind
music director Mitch Ayres and
conducted the orchestra with a ba-
ton he filched from Mitch's hand,
Mitch got his revenge when he
walked up to Per's cue card for the
rendering of "When I Fall in Love."
Perry, no kill-joy he, leisurely
stepped aside and gave Mitch the
front stage, whereupon Mitch sang
the song straight through.
Jose with a TV series of his own.
Bill, by the way, is a very shrewd,
articulate fellow when he's not Jose,
and he was a little miffed at NBC
when they publicized that he, Louis
Nye and Pat Harrington were go-
ing to co-host the "Tonight" show
for one of the weeks prior to John-
ny Carson's taking over for good
in October.
"They released that story without
my consent," said Bill. "Actually,
Louis, Pat and I are trying to get
away from being the same old three
stooges. We're going our separate
ways. You might say that I'm in-
volved in very egocentric activities
simply because you're not supposed
to have.
They'll be making their television
debuts on Ed's all-new talent show,
and if the viewing response is good,
Ed plans to have other new-talent
shows every four or five weeks.
Did you know George Maharis,
star of "Route 66," is an artist of
some note? Well, if you didn't — or
don't believe it — drop by the Lunt-
Fontanne Theater on West 46th
Street, N.Y., and inspect his work.
But don't forget to look up! He
was one of three artists who land-
scaped the ceiling.
Gary Morton knows two beautiful girls who can "do something" : His wife Lucille Ball and impish Sheila MacRae.
This show has such a high pro-
fessional polish, though, even the
ad-libs came out like they were writ-
ten that way.
Bill Dana, the space astronaut
in the guise of Jose Jimenez, says
he'll come down to earth for the
1963-64 season long enough to have
his own show, which is being hand-
died through Danny Thomas.
Bill will be Jose Jimenez, the Ele-
vator Operator, in the proposed
comedy series, the idea originating
from Bill's three appearances on
Danny's own show. Response then
was so great it was decided to launch
right now," he grins disarmingly.
These activities, according to Bill,
include another album, tentatively
titled, "Jose Jimenez Talks to Teen-
agers of All Ages."
After fourteen years of f ollowi.- g
virtually the same program format,
Ed Sullivan has something "r-r-r-
really big and new" up his sleeve.
Sometime in September, you'll
be seeing on his Sunday-night show
such entertainers as The Cathalas —
a circus act, Arlene Fontana, Yo-
landa White, Bobbi Baker, and Ko-
rengo The Magician. If you've never
seen or heard of these people, it's
Unearthed from a hilarious book
entitled, "Son of Sing Along With
Bullwinkle": A song called, "I'm
in Love With Dr. Kildare" (to the
tune: "Object of My Affection")
"The object of my affection
Can lance my infection
Or amputate my spine,
Anytime he takes my pulse
And tells me that he's mine.
There are other docs who bill me
And some who can thrill me
With offers of romance,
But I'd catch St. Vitus Dance
If it would make him mine!"
—That's Earl!
Mary Tyler Moore's elopement took
CBS by surprise. They had no idea
whom she'd wed. The name, gents, is
Grant Tinker— an NBC-TV exec. . . .
After selling his interest in Evans-
Picone sportswear, Bob Evans is after
sewing up the seams of his film career.
His ex, shapely Sharon Hugueny,
is now trying it on for size with Ann-
Margret's ex, Burt Sugarman. . . .
That cruise Dick Powell and June Al-
lyson took added up to a three-month
"second honeymoon." . . . Advert for a
Los Angeles lunch plate: "Mother-
in-law Special — Cold shoulder and
tongue." . . . Caught at the women's
press club: "There's a new doll on
the market called 'The Liz.' You
don't wind it — just push the Burton!"
SfcpiCodd
Sta)dt KeadJM&-iA,ovJl
by EUNICE FIELD
That's What They're
Saying: As Danny
Kaye's sidekick
in "Man from the
Diner's Club," Cara
Williams confides:
"Instead of pay, I wish
they'd give me a lifelong
unlimited credit card — so
I could eat forever and
never get a bill!"
... In spite of the
loyal gang-up by
the press and his
friends to boost his
morale, Eddie Fisher
laid a bomb at his Co-
coanut Grove comeback
What Every American Home
Should Have — according vo Kirk
Douglas — is a steam room "to sweat
out the problems and let off steam
when the goin's rough." . . . Fess
Parker doffed his Davy Crockett cap
for modern-day clothes (the first time
he'll wear 'em on TV) for ABC's "Mr.
Smith Goes to Washington," bowing
Sept. 29th. . . . After Lucille Ball's
wedding to Gary Morton, they were
calling the studio "Desi-blues" — but
now her ex, Arnaz, seems happy again.
... TV will really become a "vast
wasteland" if allowed to go on split-
ting old movies into installments. This
could get down to making Johnny Q.
Public watch one film four nights in a
T row — just to find out how it ends!
Judi Meredith's wedding present
from Richard Boone was a promo-
tion for husband Gary Nelson — up to
director of the "Have Gun" episode
in which she's starring. . . . Another
newlywed is sunny Ginny Simms, top
singer oh-so-long with Kay Kyser.
Groom: Don Eastvold, former At-
torney General of the state of Wash-
ington. Best man: Ish Kabibble, an-
other Kyser alumnus. . . . Happiness
re-visited: Best wedding news of the
year for pals of James Craig was his
remarriage to his ex-wife, Mary. His
passel of kids are happy, too. . . . Billy
("Father Knows Best") Gray — con-
victed on dope charges — to appeal.
. . . Don Taylor a-courtin 1 Hazel —
pretty actress Hazel Court, that is!
Rumors on the Rocks:
That Matt, Kitty
and Doc conspired
so as to get Dennis
Weaver's big variety
series nixed — so Ches-
ter would have to keep
imping around Dodge City
with them on "Gunsmoke."
. . . That when Marie
Wilson, buxom blonde
star of yesteryear's
"My Friend Irma,"
was asked why she
hadn't been on TV
lately, her so-simple
answer was: "Nobody
asked me — that's why!"
<-m <■
Kathy Nolan swore — once she left
"The Real McCoys" — she'd gussy up
as a glamour gal and go high-fashion.
So how come she was back in the old
gingham for a "Gunsmoke" — her first
TV stint since returning from New
York? . . . With the announcement that
Dwayne Hickman and Tuesday
Weld are "talking again" and she's
cast in the new "Dobie Gil lis" mish-
mash, a teenie wit predicted: "There
will be days when we won't get dia-
logue between them . . . but just two
monologues on one soundtrack. . . ."
v ///// J ///// J
Dear Drs. Kildare and Casey: Since
Dick ("Medic") Boone traded his
scalpel for a gun, I seem to be the
elder statesman among TV docs. You
young M.D.s might gain by a small
consultation. . . . On my first "Donna
Reed Show" (I'm her hubby, Dr. Pe-
tersen) the A.M.A. caught me with my
stethoscope on backwards. Were they
mad! They forgave me only after I lost
ten pounds, joined a gym and took
elocution lessons. TV doctors, they
said, must not mar the "image." . . .
So, lads, here is my advice to keep in
good with the A.M. A., the P.T.A. and
your fans: Shave twice a day, stay
trim, always carry Materia Medica
and never say "fee." Your practice may
then equal mine. . . . Luck, Carl Betz.
10
He-jinks and She-nanigans: Robert
Stock and Diane McBain in torrid
clinch on "The Caretakers" set. Sez
Bob, "This is my first hug V kiss since
I went into 'The Untouchables' four
years ago." Quoth Diane, "What girl'd
hug a man wearing one of those gun
holsters?" Leered Bob, "That'.; why
the Ness men were called 'untouch-
ables'!" Actress-wife Rosemarie
Bowe, she jes' smiled and smiled. . . .
When Pamela Mason read the Lon-
don rumors about James seeking a
divorce, she got off a wire to her
press pals, asking them not to jump
to conclusions. "James and I have not
had a private talk yet. But I've asked
my lawyer to do what is needed to
protect the interests of our children."
"Kissless" Ness with Rosemarie.
Playing the Field: Are the Lennon
Sisters movie-bound — in a re-do of
"Three Smart Girls"? . . . Mario
Lanza's 1 3-year-old Colleen not only
inherited her late daddy's voice but
has Joe Pasternak to guide her steps
to fame. She already has an MGM
record pact. . . . Bert Lahr's B'way-
bound musical, "Foxy," opened the
first Gold Rush Festival in Dawson
City, Yukon. . . . Disc jockey Johnny
Grant says, "Marriage is just another
union defying management." . . . TV's
going Mark Twain with Johnny
("Rifleman") Crawford co-starring
with George Chandler as the late
great humorist in "American Narra-
tive," a fall spec — and Bob Newhart
slated to do "Puddinhead Wilson."
»->
Ask Me No Questions: Why does a TV
hotshot medic's agent whisper his cli- 4
ent is secretly wed to the cute blonde
he travels about with — while said star
firmly denies it? . . . Would you call
Marilyn Monroe and Wally Cox, eye-
yi-yi-ing it at La Scala Restaurant, a
"suet duet"? . . . Could that possibly
be Sam Jaffe getting a haircut in the
studio barber shop? Preening his feath-
ers to step out with co-star and wife
Bettye Ackerman? . . . Will Liz "dis-
cover" Paul Anka? Or hasn't she
noticed the singer's growing into a
cross between Eddie and Mike Todd?
... Do books "written" by actors really
sell? Or are they bought by the au-
thors and handed out as autographs?
Bettye Jaffe and a shorn lamb.
Mary Livingstone and Gracie Allen
couldn't be happier about the gals
their spi'3 (plural of "spouse") picked
as partners in their acts. Jane Morgan
proved a great comedy foil for Jack
Benny at Las Vegas Desert Inn, and
Carol Channing helped George Burns
win rave reviews at The Dunes. . . .
The name William O. Douglas, long
associated with the Supreme Court,
has found a show-business niche. The
younger Douglas is in Hollywood to
try for stardom. A day after he told
his famous father he'd decided to be
an actor, he found him studying a news
story about crime and violence in TV
and films. "So now we're to be on op-
posite sides of the law?" sighed Dad.
<-
James Best, star of Warners' "Black
Gold," does his buying with silver dol-
lars. . . . Through the keyhole at
>ardi's: Sez actor No. I, "Say, I
know that cute chick." Pleads No. 2,
"Could you get me a date?" Protests
Jo. I, "But what about my wife?"
Agrees No. 2, "Okay— she'll do in-
stead!" . . . Bob Conrad, the sun-
burnt "Hawaiian Eye," credits Col.
R. W. Coe, principal of Chicago's
Woodstock Military Academy, and
Warren Watwood, his homeroom
teacher, with inspiring his love of act-
ing and his drive to success. Bob's a
grateful, understanding-type guy — as
his wife Joan's story proves in this
issue. And he does so take her out
occasionally — as photo at right shows!
Joan's favorite subject is Bob.
Pierre Paul Jalbert, the Cajun G.I.
in ABC-TV's upcoming "Combat," was
once a film cutter. His job was to edit
and trim film footage down to proper
running time. "For years," he says,
"I was haunted by a pair of huge
scissors. I'd wake up screaming— all
those poor sad faces of actors who'd
waited years for the right part, now
tossed like trash on the floor! All those
fine scenes lost! I felt so guilty, I
couldn't bear it. Thank heaven, I'm
an actor now!" So those nightmares
have eased up? "Alas, no," he mourns.
"They're worse. I'm still haunted by
those scissors. Only now it's my poor
face and my best scenes that lie
on the cutting-room floor! I still wake
up yelling." (Please turn the page)
11
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continued
You Mean Girls? Little Jay North
is not so little anymore, so CBS-TV is
changing the image of "Dennis the
You-know-what." He'll go from over-
alls to blue jeans, also his hair will be
shorter. "And," says the studio, "he'll
get into mischief more befitting an
older boy of nine." . . . They used to
joke about Sears-Roebuck catalogues
— but not any longer. Now Vincent
Price has been hired to collect art
works for exhibition and sale at the
many Sears stores. . . . Tittle-titles for
your titillation: The bird man of Alca-
traz let the sweet bird of youth out
for a taste of honey but it flew over
oceans eleven to see a certain Rome
adventure with a five-day lover, then
winged over the road to Hong Kong.
»») r
Don't you believe him, Miltie?
■<r-m -<-m: -<-« <-
Judy and Buster — TV "naturals."
<-m -<r-m -<-« <-
Hi-Finance: At a Reprise recording
session, a couple of deep thinkers were
wondering what actually caused the
stock market to go into a dive. "The
real reason for the crash," said Sam-
my Davis Jr., "is this" — and pointed
to the headline, "Mickey Rooney
Files Bankruptcy!" Maybe that's finan-
cial advice yet, that Mickey's trying to
give Milton Berle in the candid shot
above??? . . . The only man left in
show biz with sex appeal— sez Mae
West — is Elvis Presley. . . . They say
politics makes strange bedfellows. But,
in Paramount's "Hatari," John Wayne
gazes in disbelief at "bride" Elsa
Martinelli as she beds down with
three baby elephants. "Could you call
that a 'bridle' suite?" asked a viewer.
Comeback Trail: Oldie comics Joe
E. Brown and Edgar Buchanan join
Buster Keaton in an October seg-
ment of "Route 66." Now, how about a
TV spot for Judy Canova? That gal
can really yodel — and make us howl!
. . . "Fair Exchange," an hour-long fam-
ily comedy, to debut Friday, Sept.
21st. . . . An RCA album featuring
Peter Nero is called "Music for the
Nero-Minded." . . . Thought for the
day from KMPC's Ira Cook: "Talkin'
without thinkin' is shootin' without aim-
. . And while we're on the sub-
in
ject of gunfire and horseplay: Did you
know that show-biz nags not only wear
lipstick — but that something bitter-
tasting is added to it, so's the oat-
eaters won't lick it off before filming?
How High the Stars: 20th-Fox is
howling that they've lost mill-yuns try-
ing to keep Liz and Marilyn in orbit.
But it has cost You and Me bill-yuns
to put a coupla guys in orbit — and
who's complaining? . . . Add statis-
tics: Beverly Hills, which has the high-
est concentration of stars, now also has
the highest percentage of lawyers for
any city, 893 — or one for every 33
residents. . . . Three tough, tough, TV
cops _"Naked City's" Horace Mc-
Mahon, "87th Precinct's" Norman
Fell, and "Untouchables' " Paul Pi-
cerni — signed for film "Mad, Mad,
Mad, Mad World." . . . What TV
Romeo got in Dutch because the Gov't
mistook his book of private phone num-
bers for a list of undeclared dividends?
Nufs fo Sieve? No, says Jayne!
<-m <-m <-m <-
What There Ain't No Shortage Of:
Looking for new zany types for his late-
night show — now seen on various top
stations around the nation — Steve
Allen put an ad in the shopping sheets,
"We need kooks and nuts. See Steve
Allen, 760 LaCienaga Blvd." Next day,
all traffic was tied up by a line of
trucks carrying cucumbers and peanuts.
Steve and his wife Jayne Meadows
are still chuckling. . . . "The U. S. Steel
Hour," now in its ninth dramatic year,
is setting TVIand a fine example. As
usual, the show continues through the
summer with new plays — and no repeats.
. . . Ann Blyth bowed blithely out of
"Saints and Sinners," the Nick Adams
series — but not to have another baby,
as rumored. (Please turn the page)
"Just between us curls .
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Meet Frankenstein: Jim Backus, summer
host for "Talent Scouts," wails, "That
runt Magoo has taken over my life!"
Kids cry if he won't "do Magoo." TV
sirens ooh and ah over .him — not for
his masculine charms, but to get him to
"do Magoo." When he can't reserve a
table at plush spots, he puts on that
squeaky voice — and promptly gets a
"Yes, indeed, Mr. Magool" Recently,
he was invited to a party by a B'way
producer and Jim had visions of him-
seJf in a hit legit. But all the producer
wanted was for him to do the near-
sighted cartoon character. Groans Jim,
"All I live for is sweet revenge. I
dream of the day that doggone
Magoo will be called to the studio to
star in a big TV spec titled 'Doing Jim
Backus.' "... Memory Land: Bob
Hope recalls that he talked his parents
into letting him go into show business
by arguing, "It will keep me out of
poolrooms." And Joan Crawford, film-
dom's most poised star, can never for-
get her "shakes" on reaching Holly-
wood as a $75-a-week bit player. . . .
Shades of Stalin! The first title for
a show about construction men was
"The Workers." Sounds too much like
the red sheet, The Daily Worker, said
the big-domes. What was needed, they
argued, was something cleancut Amer-
ican. So now the series is called "I'm
Dickens, He's Fenster." . . . Numbers
Game: MGM-TV feels number eleven
is as lucky in production as on the crap
tables. They just signed eleven direc-
tors for their "Eleventh Hour" series
starring Wendell Corey. . . . The Tragic
Clown: Red Skelton often has a fit of
wheezing before he can walk out on a
stage — and if he winds up with the
"old man at the parade" bit, he usu-
ally walks off in tears. . . . Oddities and
Endities: With 20th-Fox suing Dean
Martin for over three million and Dino
hitting back with a six-million counter-
suit, the number-one song on Holly-
wood's hit parade is "I'll Be Suing
You." . . . Jerry Lewis added a boxing
arena to his other dealings and wheel-
ings. . . . Talk about "fringe benefits"!
Allentown (Pa.) dept.-store tycoon Max
Hess spends thousands importing TV
and movie stars — just to shake the
hands of his star-struck employees. . . .
Brenda Scott, rising young actress, is
sure fame will come her way if she
keeps studying old pictures of her late
aunt, Mae Busch, so lovely in the silent
films. . . . Annie ("Angel") Farge joins
Julie Harris in the movie version of
B'way's "Shot in the Dark."— THE END
Vote Today-A Gift Is Waiting For You !
Just fill in. your favorites and your choices, in the box below,
and one of our 400 prizes may well be yours! This month's
prize: "Letters from Camp" by Bill Adler, with illustrations
by Syd Hoff. The art is hilarious, but nothing's funnier than
the genuine messages America's Pup Tent Set actually write
home! It's all yours to own and' enjoy— if you send in one
of the first 400 complete ballots we receive. Mail it today!
Paste this ballot on a postcard and send it to TV Radio
Mirror, Box 2150, Grand Central Station, New York 17, N. Y.
MY FAVORITES ARE:
MALE STAR: 1.
2. 3.
FEMALE STAR: 1.
2. 3.
FAVORITE STORY IN THIS ISSUE: 1.
2. 3.
THE NEWCOMER I'D LIKE MOST TO READ ABOUT:
THE FAMOUS PERSON, NOT IN SHOW
BUSINESS, I'D LIKE TO READ ABOUT:
9-62
Would you
like to meet
a flier?
or a sailor?
or a singer?
or a salesman?
or a horseman?
or a farmer?
or a writer?
or an actor?
or a banjo picker?
or a producer?
or a director?
or a hunter?
or a comedian?
or a ukulele player?
or a cab driver?
or a war correspondent?
or a radio operator?
**■« «* **lm*±m*± ^mjI^m ^%^^I^O
Here they are!
They're all Arthur Godfrey— every description on the preceding
page fits ! Besides being all those men, Arthur Godfrey is now a
horse trainer (he trains, rides and exhibits thoroughbred Palo-
minos); an ice skater (he's done whole shows on ice); a crack trap
shooter; and a retired Colonel in the U.S. Air Force Reserve.
Because he's done all these things, he knows all kinds of people,
and many of them drop in on CBS Radio, weekday mornings at
Arthur Godfrey Time. With Arthur drawing them out, they tell
inside stories, trade facts, swap gags and personal anecdotes.
You never hear an interview— just shop talk between fascinating
friends.
Among other visitors, Arthur's talked shop with Andy Wil-
liams, a fellow singer; Red Buttons, a fellow comedian; John
Crosby, a fellow critic; Major Bob White, a fellow flier (Bob flies
the X15!); Harry Golden, a fellow kibitzer; Robert Ruark, a
fellow African hunter; Trevor Bale, a fellow animal trainer (he
trains tigers and lions); Lionel Hampton, a fellow musician; Mr.
Nita, a fellow fireworks-maker (Godfrey's are verbal, Mr. Nita
makes the Japanese paper kind); and Phil Silvers, Buddy Hack-
ett and Jackie Gleason, fellow experts at the game of gab.
That's just a small sampling. And besides all the good talk
there's the best of popular music : blues, ballads, and old and
new hit show tunes. All this, plus the regulars you hear every
weekday morning on CBS Radio's Arthur Godfrey Time.
A lot of entertainment— a lot of interesting people. But then,
so is Arthur Godfrey. All by himself, he's a crowd.
CBS RADIO STATIONS:
Alabama Birmingham WATV, Gadsden WAAX, Mobile WKRG, Montgomery WCOV, Selma WQWC, Tuscumbia WVNA Arizona
Phoenix KOOL, Tucson KOLD Arkansas El Dorado KELD, Fort Smith KFPW, Little Rock KTHS California Bakersfield KERN, Chico
KHSL, Eureka KINS, Fresno KFRE, Los Angeles KNX, Modesto KBEE, Palm Springs KCMJ, Redding KVCV, Sacramento KFBK,
San Diego KFMB, San Francisco KCBS Colorado Colorado Springs KVOR, Denver KLZ, Grand Junction KREX Connecticut Hartford-
Manchester WINF, Waterbury WBRY District of Columbia Washington WTOP Florida Fort Myers WINK, Jacksonville WMBR, Miami
WKAT, Orlando WDBO, Pensacola WDEB, St. Augustine WFOY, Sarasota WSPB, Tallahassee WTNT, Tampa WDAE, West Palm
Beach WJNO Georgia Albany WGPC, Athens WGAU, Atlanta WYZE, Augusta WRDW, Columbus WRBL, Gainesville WGGA, Macon
WMAZ, Rome WRGA, Savannah WTOC, Thomasville WPAX Idaho Boise KBOI, Idaho Falls KID Illinois Champaign WDWS, Chicago
WBBM, Danville WDAN, Decatur WSOY, Peoria WMBD, Quincy WTAD, Rock Island WHBF, Springfield WTAX Indiana Anderson
WHBU, Fort Wayne WANE, Indianapolis WISH, Kokomo WIOU, Marion WMRI, Muncie WLBC, South Bend WSBT, Torre Haute
WTHI Iowa Cedar Rapids WMT, Des Moines KRNT, Mason City KGLO, Ottumwa KBIZ Kansas Topeka WIBW, Wichita KFH Kentucky
Ashland WCMI, Hopkinsville WHOP, Lexington WVLK, Louisville WKYW, Owensboro WOMI, Paducah WPAD Louisiana New Orleans
WWL, Shreveport KCIJ Mains Portland WGAN Maryland Baltimore WCBM, Cumberland WCUM, Frederick WFMD, Hagerstown
WARK Massachusetts Boston WEEI, Pittsfield WBRK, Springfield WMAS, Worcester WNEB Michigan Adrian WABJ, Bad Axe
WLEW, Grand Rapids WJEF, Kalamazoo WKZO, Lansing WJIM, Port Huron WHLS, Saginaw WSGW Minnesota Duluth KDAL, Min-
neapolis WCCO Mississippi Meridian WCOC Missouri Joplin KODE, Kansas City KCMO, St. Louis KMOX, Springfield KTTS
Montana Billings KOOK, Butte KBOW, Missoula KGVO Nebraska Omaha WOW, Scottsbluff KOLT Nevada Las Vegas KLUC
New Hampshire Keene WKNE, Laconia WEMJ New Jersey Atlantic City WFPG New Mexico Albuquerque KGGM, Santa Fe KVSF
New York Albany WROW, Binghamton WNBF, Buffalo WBEN, Elmira WELM, Gloversville WENT, Ithaca WHCU, Kingston WKNY,
New York WCBS, Pittsburgh WEAV, Rochester WHEC, Syracuse WHEN, Utica WIBX, Watertown WWNY North Carolina
AshevillO WWNC, Charlotte WBT, Durham WDNC, Fayetteville WFAI, Greensboro WBIG, Greenville WGTC North Dakota Grand
Forks KILO Ohio Akron WADC, Cincinnati WKRC, Columbus WBNS, Dayton WHIO, Portsmouth WPAY, Youngstown WKBN Okla-
homa Oklahoma City-Norman WNAD, Tulsa KRMG Oregon Eugene KERG, Klamath Falls KFLW, Medford KYJC, Portland KOIN,
Roseburg KRNR Pennsylvania Altoona WVAM, DuBois WCED, Erie WLEU, Harrisburg WHP, Indiana WDAD, Johnstown WARD, Phila-
delphia WCAU, Piltsburgh-McKeesport WEDO, Reading WHUM, Scranton WGBI, State College WRSC, Sunbury WKOK, Uniontown
WMBS, Williamsport WWPA Rhode Island Providence WEAN South Carolina Anderson WAIM, Charleston WCSC, Columbia-Cayce
WCAY, Greenville WMRB, Spartanburg WSPA South Dakota Rapid City KOTA, Yankton WNAX Tennessee Chattanooga WDOD, Cooke-
ville WHUB, Johnson City WJCW, Knoxville WNOX, Memphis WREC, Nashville WLAC Texas Austin KTBC, Corpus Christi KSIX,
Dallas KRLD, El Paso KIZZ, Harlingen KGBT, Houston KTRH, Lubbock KFYO, San Antonio KMAC, Texarkana KOSY, Wichita Falls
KWFT Utah Cedar City KSUB, Salt Lake City KSL Vermont Barre WSNO, Brattleboro WKVT Virginia Norfolk WTAR, Richmond WRNL,
Roanoke WDBJ, Staunton WAFC Washington Seattle KIRO, Spokane KGA West Virginia Beckley WJLS, Charleston WCHS, Fairmont
WMMN.Parkersburg WPAR, Wheeling WWVA Wisconsin Green Bay WBAY, Madison WKOW, Milwaukee WMIL Wyoming Casper KTWO.
THE CBS RADIO NETWORK
■■
Bobby Scott
Music Editor
S£
ir
"THE OLD MAN"
GENE KRUPA
• "The Old Man"— as I have come to
call him ever since I served an appren-
ticeship with him — is one of the nicest
and warmest human beings I've ever
had the pleasure of meeting. He is many
things. He's the legendary Drummer
Man, jazz giant, bandleader and teacher.
He's also just Gene Krupa, manager of
a Yonkers softball team. A lender of his
musical talents for civic benefits, he's a
well-rounded, well-informed gent whose
neighbors call him by his first name
and like him as much as they admire
him.
He's a dyed-in-the-wool N.Y. Giant
fan ... a record listener from Bach to
Stravinsky, from King Oliver to Dave
Brubeck ... a reader of books which
can range from (Continued on page 21)
msm
111
K&
IK
m
Your Monthly ON RECORD Gti/ofo
18
POPULAR
••••Dinah, 62, Dinah Washington,
orch. cond. by Fred Norman (Rou-
lette) — Well, here is the Queen! And is
she murder! Dinah just naturally turns
any tune her way and comes up with all
the marbles. She is first and foremost a
blues singer, and everything she sings
is instilled with that shouting quality,
even the ballads. This album is not a
journey into subtlety. It's straight ahead
all the way. Big band, organ and a
fighting rhythm section. (The only mi-
nus is the way Dinah's voice was re-
corded. It's not bad, mind you, but it
could use a little edge.)
Nobody can catch Dinah in her
groove. She's the alpha and omega. No
matter how diverse the tunes, she brings
them all into her orbit. "Destination
Moon" will bring back the memory of
Nat Cole's record, but Dinah's version is
in another groove. She uses the lyrics
only as symbols. It's interesting to see
how she belts "Red Sails in the Sun-
set." For this tune, the rendition is
rather boisterous, considering the mes-
sage, but Dinah brings it home.
Some of the other gems include "Co-
quette," "Is You Is Or Is You Ain't My
Baby," "Drinking Again" and "You're
Nobody Till Somebody Loves You."
It all jumps off the record. All con-
cerned — Fred Norman's arranging and
conducting, Teddy Reig and Roulette
Records and, mostly, the Queen of
Blues, herself — deserve a healthy round
of applause. Recommended — and very
highly so, we might add !
•••Mr. Broadway — Tony Bennett
(Columbia) — This album delighted me.
Tony embraces all the tunes with his
biggest selling point: Heart! Through-
out all the proceedings he's in fine fettle.
Tony's range of expression is profes-
sionally large. He has got it down to a
science. When the huge sounds and feel-
ings are required, as in "Climb Every
Mountain," he is strong with sentiment
and sound; strikingly warm when sing-
ing "Love Look Away" ; and full of the
old Nick when he does "Put on a Hap-
py Face." He also puts in a fine wispy
performance on the beautiful and be-
witching "La2y Afternoon." Needless to
say, "Just in Time," "Stranger in Para-
dise" and "The Party's Over" need no
introduction to you by this reviewer.
So if you care to see Broadway, there
couldn't be a nicer chap or larger talent
to promenade with. The tunes are
Broadway's best, the singing, some of
Tony's best. The arrangements, all neat-
ly written. (And performed very well,
too.) I'd buy it, if I were you.
•••Bobby Vee Meets The Crick-
ets (Liberty) — Bobby Vee never sur-
prises me ! His albums are always dead-
center shots. This venture with the
Crickets is a rewarding one. Both Bobby
and the Crickets hear things similarly.
It also offers Bobby a chance to stretch
out, since the music is not highly ar-
ranged nor the orchestra encumbered
with a great number of players. In fact,
there may be only five or six musicians,
including the Crickets. (I did detect a
piano on several of the album's tracks. )
The material in the album ranges
from "Peggy Sue" and "Bo Diddley" to
"Sweet Little Sixteen" and "Lucille."
Bobby is absolutely at home with all the
tunes. He also appears to push harder
and sing stronger on these than on some
of his strings-voices type single records.
The recorded sound is very good and
the cover is a tasteful picture, in color,
of Bobby and the Crickets, casual-style.
The kids, I'm sure, will hoist this al-
bum up all the hit album charts and
justly so. In his groove, Bobby is one of
the aces. He also has the talent to pull
in a few older ears like mine. I dig him.
MOVIE MUSIC
••••"Advise and Consent," Orig-
inal Sound Track, comp. and cond. by
Jerry Fielding (RCA Victor) — Nothing
delights me more than first-rate movie
music. This is a wonderfully entertain-
ing album even if you forget about the
movie! I have no doubt that this score
makes the movie a much greater experi-
ence. It would have to! It's an entity
in itself.
Jerry Fielding is a talent that many
people have by-passed when in the
market for a film score. Why? Don't
ask me. All I know is, he has for years
been a top-notch arranger-bandleader-
composer. I'm glad Otto Preminger
gave him this opportunity to show his
wares. Jerry is able to cover every mood.
The titles really mean very little. The
quality of the music is something else.
It has the American pulse. (The modern
-K-MC-K GREAT I
-K-MC GOOD LISTENING
-MC FAIR SOUNDS
+ IT'S YOUR MONEY
tVi*f& #****©
mifnn
one.) Jazz is here, lyric right beside it.
Strength and depth. Vital rhythmical
excursions. For you people who always
pick up on the scores from Hollywood,
this is a must. To all concerned, con-
gratulations!
LATIN
***Vaya Puente, Tito Puente and
His Orch. (Tico) — Tito Puente has long
been a favorite of mine. A skillful ar-
ranger, fantastic drummer and an ex-
cellent vibist, Tito also excels in yet a
greater department. He, above all the
mambo-Latin-type orchestras, has al-
ways led the way so far as integrating
American jazz-type music into his Latin
format. (And without altering the Latin
message.) Tito, to my knowledge, has
never fronted anything but a first-rate
band of players. All his recorded per-
formances are peak professionalism in
action. The tunes herein are charming
dance vehicles. (I can assure you, you
will begin to move some part of your
torso to this music. The dance-beat is
that persuasive.)
Tito's timbale (Spanish drums) play-
ing is always an exciting thing to ex-
perience. In his own way, he's like
Count Basie. He sets the most musically
desirable tempos and instills them with
the feeling of steadiness. The arrange-
ments are bright, brassy and concise.
The ballads are in the bolero fashion
and musically interesting. The whole
album is full of excitement. Take a lis-
ten at your record shop and see if you
don't end up saying, Vaya Puente!
CLASSICAL
*-AiHrThe Magnificent Sound of
The Philadelphia Orch., Eugene Or-
mandy cond. (Columbia, 2 L.P.'s) —
First, let me say two 12-inch L.P.'s for
$3.98 is a steal — and throw in just
about the finest musical organization in
the world and it becomes highway rob-
bery!
The collection, largely smaller works
of the favorite variety, is impressive.
The "Afternoon of a Faun" prelude by
Debussy, the deeply motivated Sibelius
opus, "Swan of Tuonela," and the "Toc-
cata and Fugue in D Minor" by the
giant of composition, Bach, to name a
few. (Several of the others are weary-
ing to this reviewer, but they hardly de-
tract from the value of the package.)
The Philadelphia Orchestra is, in
your reviewer's humble opinion, our
greatest orchestra. Even in the rest of
the world, few orchestras have equaled
their performance level. It is not
strange that they upset the Russians on
their tour of that music-loving country.
The string section of the orchestra is
remarkable. It is unmatched in every
area. (Recently, they lost their master
flutist, William Kincaid, to the call of
retirement. He was a great mainstay.
Kincaid is heard, though, here.)
I would recommend the package as a
buy for any number of purposes, from
the classical collectors to those who
would investigate for the first time
the appeal of classical music.
ilriiSummer Festival (RCA Victor.
2 L.P.'s) — As you might note, I haven't
listed any artists here. The reason
being it would require as much space
for the list of the performers as it would
for this review. This is a classical sam-
pler. A pot of stew, so to speak. Cli-
burn to Lanza, Renata Tebaldi to Mor-
ton Gould. The pieces here are mostly
excerpts, single movements out of larger
works and short pieces, two long-play-
ing records' worth. (I believe a special
$3.98 price goes along as well.)
The high points, musically — the fact
that it is a sampler aside — are the mar-
velous finale of Beethoven's Concerto
No. 1, played by the Russian entry in
the great pianists department, Sviato-
slav Richter, with Charles Munch and
the Boston Symphony; the finale of the
Giuliani Guitar Concerto performed by
Julian Bream; and the Scherzo from
Edward MacDowell's Concerto No. 2
played by Van Cliburn, with Walter
Hendl and the Chicago Symphony
Orchestra.
There are two Puccini arias sung by
Leontyne Price and Anna Moffo. Both
are, to your reviewer's taste, sadly lack-
ing. Both are deliberate, stilted. An ex-
citing moment herein is an exerpt from
Bernstein's "West Side Story" music
with Robert Russell Bennett conduct-
ing. Also included is a "par-for-the-
course" track by the late, great Mario
Lanza.
On the whole, it's an interesting pack-
age, well paced and geared to stimulate
interest. For the price — or even a much
higher one — it's well worth it.
19
Vow#- Monthly ON RECORD Guide
20
MUSICAL TRAVELOGUE
VHUkrSound Tour, Orch. cond. and ar-
rangements by Kenyon Hopkins (Verve
Records, 4 separate L.P.'s) — Verve is to
be congratulated on this rather fresh
idea in music and packaging. In con-
junction with Esquire's travel editor,
Richard Joseph (who has supplied the
rather inviting booklet of notes that
comes with each of these albums), Ken-
yon Hopkins has brought us an interest-
ing look at the countries of Spain, Italy,
France and our new state, Hawaii. The
view is not so much representative of the
cultures as it is of our view of them.
Kenyon Hopkins — whose latest movie
score triumph was "The Hustler" — in-
corporates the music of America, jazz,
into every setting. Strangely, it never be-
comes obtrusive. (The jazz talent on
these albums is of the highest calibre.)
Also present on all four albums are
sound effects ranging from a sheep's
bleating to waves lapping the shore,
winds, etc. In some spots, it is not a sore
thumb; in others, it's a little overdone.
The Sound Tour: Italy album is
chock full of good, though subtle, often
under-written, arrangements. "Bella
Roma," a Hopkins version of "Ciribiri-
bin," is done in a contemporary waltz
fashion with jazz overtones. It occa-
sionally lapses into the Italian street
band type of sound, which makes for in-
teresting pacing in the color-of-sound
department. "Gondola," a boat song,
starts with the waves (real ones!) and
sails an enchanting route. Other strong
vehicles are "Early Morning Song" or
"Mattinata" or better known as the pop
song, "You're Breaking My Heart";
"Shepherd's Serenade" and the socking
"Street Dance." Throughout these pro-
ceedings, mandolins are heard. They,
almost by themselves, are able to create
the warmth of Italy. It's a delectable
little sojourn.
Sound Tour: Spain finds us in the
hands of strings, enchanting musical
moments and a good deal of the relaxed
jazz piano of the underrated Hank
Jones. Admittedly, I'm more open to
Spanish, and particularly the modal-
type, music. But that aside for a mo-
ment, I think the melodic material in
this Spain album has not been beaten to
■ , :■■:. '...'■.. .■."..' .,. . ■■
death like some of the Italian and
French tunes that we are so familiar
with. (Of course, Mr. Hopkins is a bas-
tion of taste so nothing falls too low.)
Spain, in your reviewer's humble opin-
ion, comes to life much more so than
Italy did. (In fact, of the whole four al-
bums, Spain is the most intriguing. )
The moments of Latino splendor are
many in this album. "Parador" and
"The Doves of Majorca" are entranc-
ing! They're so plentiful here, these
gems, it's hard to pick 'em. "Basque"
has a swinging groove with the strings,
like a blanket of warm wind, supporting
a crystal-like piano solo. The rhythm
section rocks along very strongly.
The wind effect on "Costa Brava" is
definitely an asset in the sound depart-
ment. It chills, unquestionably. Of
course, nothing about Spain could possi-
bly be complete without something from
Bizet's opera "Carmen." The habanera,
herein called "Carmen Speaks English,"
is done up in fine fashion. And last but
not least, a glimpse into the bull ring.
This time it's the "Timid Toro," a hybrid
jazz and Latin satire. "Adios Granada"
takes us sadly to the end of our journey.
Sound Tour: France — although its
jazz quality is high, as well as its pic-
torial side — is not able to invoke what
"Spain" did in your reviewer. It has
enough wonderful moments so as not to
affect the rating for all the other albums.
"Train Bleu," a version of "Sur le Pont
d'Avignon," is the opening gem. "Voy-
age a Bicyclette" is a wonder! It creates
the ride through the countryside down
to the dog's bark and the chirping birds.
The candid shot of St. Tropez, more
commonly known as Bikini-Land, "Pays
de Bikini," is a marvel. The jazz play-
ing takes the wheel here and do these
chaps shout a bit! As a matter of fact,
this is more in a total jazz groove than
the other albums.
Sound Tour : Hawaii is the weakest
of the set but that's hardly condescend-
ing, as the others are impossibly good as
these-type albums go. There is so much
more to say about these albums, but I'm
afraid this review could easily turn into
a novel at any moment. I'll leave you
with this advice: They are unquestion-
ably the best of this variety I've heard in
many moons. Highly recommended.
-
"THE OLD MAN"
GENE KRUPA
(Continued from page 17)
current fiction to the contemplative
works of Thomas Merton ... a graying
gentleman, who has spent more than
half his fifty-odd years in the music
business and, to my knowledge, has
rarely made an enemy.
Gene was raised in a tough part of
Chicago. At one time, he entertained
the thought of the priesthood as a vo-
cation. But music kept calling. He
played in keyhole clubs during prohibi-
tion, graduated into the Austin High
Chicago-style Dixie clique and eventu-
ally the Benny Goodman heydays.
Gene's bands were equally as famous
as Benny's, and the talents that Gene
helped nurture along are uncountable.
Roy Eldridge, "Little Jazz," Vido Musso
(later to make a name with Stan Ken-
ton), Anita O'Day, Johnny Desmond,
Gerry Mulligan, Charlie Ventura and
Teddy Napoleon and many others.
My own sojourn with Gene was a
marvelous education. He is, above all,
patient. He stimulated my interest in
all areas of music, was the first person
interested enough in my voice to record
me as a singer with the group, and was
a great guiding force in his own subtle
way. I matured quite a bit while work-
ing for him, both musically as well as
mentally. If, when I did leave the group
after two years, I was able, at nineteen,
to lead my own groups, much of the
credit goes to Gene.
Gene Krupa, the musician, is always
very much aware of what's going on in
jazz. He always gives encouragement
and credit to those players he feels are
comers. More important, he never talks
about himself. If asked about drums,
he'll talk about Buddy Rich, Max
Roach, Joe Morrello, Art Blakey and
some of the older players. He is also
the most receptive of the older musicians
I've come across. (I believe "Burnin'
Beat," his recent Verve album, proves
that.)
Maybe that's the key to his personal-
ity. He can enjoy many diverse things
and absorb and eventually apply them.
That's why Gene is the vital person he
is; he's still growing.
One night, while I was working with
Gene, he preceded us out on the stage.
The audience gave him an ovation that
is accorded only a small group of peo-
ple in the music business. I looked out
and what I saw was not just respect but
love for the gentleman and legend that
Gene Krupa is and always will be!
PIECES OF EIGHT
• Bobby Darin is having some throat difficulties. It may
mean canceling some upcoming engagements around the
country. Meanwhile, Bobby's latest album tribute to Ray
Charles is doing well. . . . "Old Rivers" has put actor
Walter Brennan on the recording scene. Wonder what he'll
do next? . . . George Maharis of "Route 66" fame seems
to be getting turntable action on his new recorded efforts.
"Teach Me Tonight" is the strong one. . . . Singer-actor Dick
Haymes is in the middle of a deal to produce motion pic-
tures. He'll be leaving N.Y. to reside in Hollywood.
Tony Bennett's "San Francisco" and "Candy Kisses" are
getting air-play. . . . Capitol Records has released three al-
bums — all in the Hawaiian groove. Possible this is the new
resource for tunes. . . . Folk singer Joan Baez is playing
concerts to full houses. (Don't say I didn't tell you about
her ! ) . . . Josh White recorded some single record material
in Nashville. His family joined him and everybody sang. . . .
Jackie Wilson still taking it easy after his accident. . . .
Dion looks like he has another big album. . . . Joe Williams
set to do a big-band album for Roulette. Torrie Zito will do
the arranging. Joe has been doing a single since he left Basie.
Benny Carter, saxophonist-composer-arranger-conductor,
was in N.Y. recently, wielding the baton for Peggy Lee at
Basin Street East. . . . Johnnie Hallyday, Europe's hottest
artist, was in N.Y., too, for a short while.
Quincy Jones, bandleader and A&R man for Mercury
Records, back from Europe, where he recorded Robert
Farnon and Yves Montand. ... It looks like we called it!
"Uptown" — our No. 1 single a couple of months ago — really
climbed the charts. . . . Clint Eastwood, of "Rawhide"
fame, tells us he'll be recording soon. . . . Chuck Sagle,
independent arranger-conductor, has been hired by Frank
Sinatra's Reprise Records as A&R man.
Singer Bob Crewe now heading a new record operation,
Perri Records. Bob, one of the most diversified of talents,
shouldn't have much trouble putting them on the map. . . .
Buddy Rich is back drumming again with the Harry
James band. He had been ailing with a heart condition, but
we hope Buddy's well on his way to recovery.
Jazz notes: ABC-Paramount's jazz line, Impulse Records,
has just released a big band album by Quincy Jones. Phil
Woods is featured. Also albums by Benny Carter and John
Coltrane. . . . Verve cut Oscar Peterson's Trio doing the
score from "West Side Story." . . . The jazz scene was sad-
dened by the passing of Leo Parker. He was an outstanding
baritone saxophonist. He had recorded extensively. . . . Gil
Evans and Bill Evans slated to do an album on Verve. . . .
Julius Watkins has a new album release on Mercury which
uses a choir of French horns. Eight in all. Gerry Mulligan's
new album on Verve features Zoot Sims on tenor with
Gerry's swinging concert band. It's a winner. . . . David
Amram recently had a program of his compositions pre-
sented at Town Hall. It featured the Beaux-Arts String Quar-
tet. . . . Slide Hampton, late of the Maynard Ferguson
band, has recorded an album for the new company, Charlie
Parker Records. . . . Columbia is soon to release an album
of the piano playing of James P. Johnson.
21
22
In a recent issue of TV Radio Mirror, we asked
you, the readers, if you felt that Eddie Fisher
should have another chance. You answered with an
overwhelming YES. In fact, you voted your confidence
in him at odds of 8 to 1. . . . Apparently, Hollywood
shares your faith and your concern for his future. The
pictures on these pages reveal — not only the proverbial
great heart of show biz — but the infinite variety of all
those who stood up to be counted alongside Eddie: From the
matriarch of Grossinger's — the resort hotel where he married
Debbie Reynolds ... to the son of the late, great Mike Todd
— Elizabeth Taylor's previous husband . . . and, perhaps the
most amazing of all, Juliet Prowse — whose frequent dates with
Fisher had Hollywood wondering if it was about to see a triangle
no one could have expected, when Frankie-boy got back to town
1 Kay Gable — widow of "The
King." 2 Mrs. Jennie Grossinger —
owner of the big Eastern resort.
> 3 Eddie Cantor — who gave Fisher
early boost to fame. 4 Andy Wil-
liams. 5 The Keenan Wynns— and Kay
again. 6 Janet Leigh. 7 Mr. and Mrs.
Mike Todd Jr. 8 And Juliet Prowse —
Hollywood's (and Eddie's) biggest surprise!
Romano Mussolinis (Maria
Loren) expecting a Dec. stork.
. . . Count Basie murdered 'em
in London — raves. . . . Jane
Fonda to marry Andrew Vout-
sinas. . . . Jack (CBS) Ster-
ling named her Linda. (It's
their sixth girl-child.) . . .
Mort Sahl and Inger Stevens
cooing at Basin St. . . . Chris-
topher Lynn Calloway was in
debbie debut group, Waldorf-
Astoria. She is Cab's daughter.
. . . Glenn Ford and Hope
Lange resumed. ... Dag-
mar and Danny Driscoll split.
. . . Cole Porter deeply pleased
at world tributes on his 70th
birthday. Porter, the Peru,
Ind., kid who in 1911 penned
Yale's "Bulldog, Bulldog," and
"Bingo," told me that he was
so humiliated at the flop of his
very first B'way musical in
I 1916, he locked himself in his
room at the Yale Club in N.Y.,
ate all his meals there, then
t grabbed a liner to Europe and
v enlisted in the French Foreign
24
Legion ! For nine years, Porter
never came up with a B'way
stage hit. . . . Ann-Margret
dating "Bye Bye Birdie's"
Bobby Rydell. . . . Peter
Duchin and Gary's Maria
Cooper pianissimo. . . . Eddie
Fisher dating Leslie Parrish.
. . . England's Gaitskell noted :
"Best bit of news is that Khru-
shchev enjoyed Benny Good-
man. Jazz is a very good
international cement." Good-
man learned, as we found out,
that Russians love U.S. per-
formers. . . . Louis Armstrong
was 62, July 24 Churchill's
sec'y, Jo Sturdos, to wed Earl
of Onslow. . . . Joan Bennett
and Peter Pagan at El Mo-
rocco. . . . Jimmy Durantes
got final adoption O.K. . . .
Explains Harlem's Nipsy Rus-
sell: "I'm loaded. I smuggle
Herald Tribs into the White
House." . . . Carol Burnett
would be sensational as Fanny
Brice. She's just as good as
Fanny and much more attrac-
tive. . . . Peggy Ann Garner
and Tony Farrar a twosome.
. . . Crowds made TV coverage
of U.S. Open so difficult that
TV must come up with new
precautions to prevent fans
from blocking putting greens.
. . . Carol Lawrence and
Larry Kert resumed. . . .
Charles Laughton was hos-
pitalized at the very moment
all of us were cheering his
Academy Award performance
in "Advise and Consent." . . .
Did you ever know that Laugh-
ton tried to get out of his
Captain Bligh role, which
made him famous? "I get
deadly seasick," Laughton ex-
plained to director Frank
Lloyd. Then he, studied Lloyd's
face: "Wait a moment. If I
had your bushy eyebrows,
Frank, I could be Bligh." They
made up the false, bristling
eyebrows, he became the fear-
some Bligh and his menacing
"Mr. Christian — come here!"
became a national phrase. . . .
To conceal his sentimentality,
Laughton always assumes a
pretended fierce gruffness. Ac-
tually, no one has a deeper
affection for people. As long
ago as 1949, he introduced
Bible reading to TV on our
show. As a result, Laughton
and Paul Gregory then brought
to the Broadway stage such
classic readings as "Don Juan
in Hell," "John Brown's Body,"
etc. . . . Sudden thought:
How does "Ben Casey"
feel about Medicare? . . .
Eartha Kitt to give four con-
certs in Kenya, for needy chil-
dren. . . . Marlene Dietrich
postponed concert tour in Rus-
sia. . . . Michael Wilding woo-
ing Karen von Unge. . . . After
all the cooing while she was
headlining at the Latin Quar-
ter, Pat Wymore and Texan
MacCaudle iced.
Published by permission of
the Chicago Tribune — New
York News Syndicate Inc.
J
!
1
1
about:
His divorce from Liz!
His next marriage!
His meeting with his kids!
His "engagement" ring!
The woman who healed his heart!
His "nervous breakdown"!
»■_.
After being hounded by reporters and hurt by"imade-up
stories, Eddie Fisher was driven into silence. Now, in this exclu-
sive interview — his first with any magazine since his split with
Liz —Eddie leveled with me. "The press can (Continued on page 74)
s^rinriHi mum
j^55rm> 1^1^ mrsz
jL^cmwim
TO
All good little Brooklyn girls go to Coney Island and
little Concetta Ingolia was no exception. The amuse-
ment park there is a magnet for youngsters, with its
exciting rides and games, its hall of distorted mirrors
which can reflect back to an imaginative child all the
fantastic and different things she might be. . . . It's a
long, twisting road that leads from Coney Island to Hol-
lywood, but little Concetta traveled it — to become cute,
glamorous and successful Connie Stevens . . . and the
changes that took place en route are more fascinating
than anything the hall of magic mirrors could have
hinted at! Today, as Warner (Please turn the page)
26
i
««
k*
f
HI '
I*ike any girl,
Connie Stevens
reaches out for
a man to love . . .
like no other
girl, her choice
will surprise you!
wrmnicsiHi <Q>*
■
■
%
t V >VVV*M|
A'V*
k Gary Clarke: Is the
man in her past also r _ -
the man in her future?
Si:
"«■«
#C ^* . . A.
Bros.' hottest young star and the talk of the town,
Connie is a growing legend. The list of men to whom
she has been reported engaged, on the verge of
marrying, or just dating, is as long as a space-flight
countdown, and it includes the most attractive "eligi-
bles" in show business. Not only that, but her
"fussin' and feudin' " with the studio has made
headlines wherever there are phonographs, movie
houses or TV sets.
A recent conversation, overheard from a table in
PJ.'s, went something like this: "That Stevens gal
has the look of a teenager." "But," said another,
"she has the body of a sex kitten." "Yes," added a
third, somewhat maliciously, "a sex kitten with the
heart of a tiger!" There must be moments when 23-
year-old Connie herself- — musing on the rash of
stories that claim to "reveal the true Miss Stevens" —
looks into her mirror and remembers . . . her mind
backtracking to the time when little Concetta stood,
big-eyed amid the weird and baffling reflections in
the hall of mirrors, and wondered, Can any of them
really be me?
The fact is, nobody knows the "true" Connie
Stevens — and even if she herself has the secret key
28
<OCO>E5r55riI.
'~2T J5JJSMI!
W^^
3 Glenn Ford:
He'.« out of sight, but
is he out of heart?
) Troy Donahue: What
else but love could make
a girl fight so hard?
to her complex, winsome, talented, frank, clevei and
explosive self, she isn't talking. Those who purport
to know her, know only what they see of her. To
her father : "She is all a daughter could be . . . she's
still part little-girl and yet definitely all-woman."
... To her manager, John Vestal: "There's a V-8
brain behind that doll's-face — she has a knack for
sizing up a good investment, and her drive for suc-
cess is fantastic." . . . To a filmtown wag: "Connie's
a gal who's never said no to a date and never said yes
to a pass. That's her reputation. Beginning with Gary
Clarke (her first love), she's dated practically all of
Hollywood's eligibles. According to one and all, the
date is wonderful — but it stops short at her door-
step." Connie has reversed the usual pattern. The
longer her escort brigade, the better her reputation.
To her brother, nicknamed "Charlie Boy," she is
"the type who'll make a great wife and mother. She
doesn't have a lot of free time but, when she can,
she's over helping Ellen, my wife, and playing with
our three little girls, who adore her." To Gary
Clarke, actor-singer who has been in and out of her
life and is still considered "the front runner" as of
this writing: "Connie's {Continued on page 84)
29
by Jane Ardmore
HORTON
FIGHTS
FOR
HIS
LIFE
What kind of a guy would
turn his back on a million
dollars? What kind of a
wife would let him do it?
Well, as for the man, he was
described in his first acting job as "six
feet of red-headed dynamite." The
name is Robert Horton. He's a tal-
ented guy, a thoughtful guy and
a growing guy. He's fought his family,
his studios, his script writers. He's
fought for love and rebelled at mar-
riage . . . and made some big, whopping mistakes, both personally
and professionally. The difference, this time, is that fiery Bob
finally knows what he wants and whom he wants . . . and he's
fighting for his very life. For three years, he's been living and working
in a strait- jacket . . . pressured from the outside to go on,
on, on— pressured from the inside by an increasing lack of ease, a
loss of self — he'd been swallowed whole by the show which had given him
his first chance at the big-time. . . . When he began pulling away from
"Wagon Train," Hollywood just thought he wanted something extra.
"Bob," a studio executive told him, "just give us another three years of
your life and you won't have to worry about money as long as you
live. You can retire . . . you can see all of the world you want
. . . you can give that bride of yours everything you've dreamed. . . ."
The man was hitting close to home. Bob had just married. After
romantic chaos, he'd finally found a girl who was right for him.
Could he jeopardize their emotional security (Continued on page 16)
He'd been in fights before, but this time the
stakes were too high...this time, Bob couldn't afford to lose
30
▼I '
m v
7M I I
m "' T 1
Infe
\
Five mornings a week, E.G. Marshall— the suave
Lawrence Preston of 'The Defenders"— wakes in
his town house on New York's East 92nd Street,
breakfasts with his family and then changes from
robe to sweat-suit Then (Continued on page II )
i
\m
Five mornings a week, E.G. Marshall— the suave
Lawrence Preston of "The Defenders"— wakes in
his town house on New York's East 92nd Street,
breakfasts with his family and then changes from
robe to sweat-suit Then (Continued on page II )
HOW VINCE EDWARDS
HIS MOTHER'S
ACHE
Vince Edwards was coming
home to his old Brooklyn apart-
ment for the first time in three
years . . . for the first time since
he hit it big on television. It was
a happy time — especially for his
mother. At least, it should have
been.
Yet when I called Vince's
mother, I was astonished by the
sadness in her voice.
"How are you, Mrs. Zoino?"
were my first words.
"Oh, just fine . . . fine . . ."
The sentence drifted away. It
seemed as if Mrs. Julia Zoino
were speaking from distant Aus-
tralia rather than the few short
miles that separated her from my
phone in midtown Manhattan.
"I called to ask about Vince,"
For three years, Mrs. Zoino
had waited for this moment.
I told her. "1 heard he's coming
home. You must be thrilled."
There was a long pause.
"Well," she started, slowly.
"Vince was coming home . . .
but . . ."
Again Mrs. Zoino's voice
sounded distant and faint.
"You mean it's not true that
your son had made plans to pay
you a visit?"
"Oh, no! It's right, Vince was
coming home. But something
came up . . . He had to go to
Indianapolis ... a publicity tour.
He was forced to give up his
plans. So he called . . ."
I interrupted Mrs. Zoino to in-
quire whether that meant that —
even after all this time, after all
of her (Please turn the page)
34
plans — she would not see the hulk-
ing, handsome twin son she had
missed so much.
"No, no," she returned, with
alarm in her tone. She didn't want
me to misunderstand. There had
been so many rumors that Vince
didn't want to come home again;
that since he hit the big-time he had
forgotten his family and friends
back in the East New York section
of that famous borough; that per-
haps, like the Dodgers, he had for-
saken Brooklyn for good. Mrs. Zoino
was apprehensive.
"Please," she continued, "Vince
was forced to change his plans. He
called me up last night and begged
me to understand. But he didn't have
must have tickled Mrs. Zoino to hear
me fumbling for words to frame the
next query. She began to laugh.
"I'm as surprised as you are," she
said finally. "I had no such plans
until Vinnie talked with me last
night and told me he couldn't make
it. But he asked me to come out to
the Coast, to stay with him for a
long visit. And I told him I would
go sometime this summer."
Mrs. Zoino was evidently pleased
with the happy thoughts the planned
visit brought to her mind. Her voice
had completely lost its earlier sad-
ness and now she bubbled over with
enthusiasm. I couldn't get a word in
edgewise.
"Do you know what he told me?"
THE GIRL VINCE BROUGHT
to do that — I always understand
when Vinnie talks to me. I know
how difficult his life is and how com-
plicated it's made with his hectic
work schedule. He told me to
wait . . ."
There was no resentment in her
voice. There was the hint of disap-
pointment but, after all, she was his
mother; whatever her Vinnie was
doing was all right with her.
"Does this mean you won't see
Vince until some vague time in the
future?" I asked.
"Not if Vinnie has his way," Mrs.
Zoino said. For the first time, her
voice brightened. "I'm going out to
Hollywood to see him!"
This came as a total surprise. It
she went on. "He said he wants me
to go out there and live with him!
He told me, 'Mom, if you come out
to Hollywood, I'll fix you up so that
you'll live like a queen!' He made
me so happy talking that way."
When I was able to interrupt, I
wanted to know if she'd take Vince's
offer and go out to live in the lavish
surroundings that a grateful son had
offered his mother.
"Oh, I couldn't do that," Mrs.
Zoino replied. "I have my family
and friends here in Brooklyn. My
roots are too deep in this soil to
just pick up and leave. And, besides,
there's my job . . ."
That was another surprise.
"Your job?"
■
.¥
36
"I work in the school cafeteria,"
Mrs. Zoino said matter-of-factly.
"In the school cafeteria?"
"Yes, I work behind the self-
service counter at Eli Whitney Vo-
cational High School . . . I've
worked there for a long time. And
I love it. I serve food to the chil-
dren."
It was the most interesting dis-
covery I'd made in the several talks
I'd had with Mrs. Zoino. It was more
of a surprise because, when I had
spoken with her on previous oc-
casions for TV Radio Mirror — she
had mentioned nothing about her
job in the school cafeteria. So I
wanted now to hear more about it.
"Are you a celebrity in the eyes
firmed what she already said about
being Vince's mother.
"The children are all well-be-
haved. Once they get to know me,
all they want to do is talk about Vin-
nie. They keep asking me the same
question you asked — when will he
come home? And they also want to
know if they might have a chance to
see him. I tell them to be patient."
Mrs. Zoino told me then that she'd
have to wait until school closed for
the summer before making the trip
out to the coast to visit Vince.
"I just couldn't leave all my fans
in the lurch, could I?" she laughed.
I shifted the conversation back to
Vince and asked his mother what he
talks about when he phones her.
HOME TO HIS MOTHER . . .
of the kids?" I asked the mother of
TV's most famous physician.
There was a brief burst of laugh-
ter. "Oh, the new girls there come to
me all the time and ask, 'Are you
really Ben Casey's mother?' They
seem to think that the mother of a
big star like Vince Edwards should
not work — especially at such a rou-
tine thing like a countergirl's job.
But I tell them before they have a
chance to say it. I tell them, T know
you'll ask me what I'm doing here.
My answer is that I love you
all
The kids who hear who she is for
the first time are very surprised and
don't seem able to believe it, even
after the veteran students have con-
"He always asks how everyone is
feeling, and tells me how much he
misses me. Then he'll talk about his
work — how much he loves it. But
he's always so very tired. He tells
me that he works thirteen and four-
teen hours a day. I can understand
how difficult it is. I can see the re-
sults in the way he acts. As a doctor
on TV, I think he's getting better all
the time. The shows are really great.
Even real doctors call me and com-
pliment me on my son's perform-
ances. You can imagine how I feel
then!"
I asked Mrs. Zoino kiddingly
about Ben Casey's video rival, Dr.
Kildare. Does she ever watch that
program, (Continued on page 86)
37
plana — she would not see the hulk-
ing, handsome twin son she had
missed so much.
"No, no," she returned, with
alarm in her tone. She didn't want
me to misunderstand. There had
been so many rumors that Vince
didn't want to come home again;
that since he hit the big-time he had
forgotten his family and friends
back in the East New York section
of that famous borough; that per-
haps, like the Dodgers, he had for-
saken Brooklyn for good. Mrs. Zoino
was apprehensive.
"Please," she continued, "Vince
was forced to change his plans. He
called me up last night and begged
me to understand. But he didn't have
must have tickled Mrs. Zoino to hear
me fumbling for words to frame the
next query. She began to laugh.
"I'm as surprised as you are," she
said finally. "I had no such plans
until Vinnie talked with me last
night and told me he couldn't make
it But he asked me to come out to
the Coast, to stay with him for a
long visit. And I told him I would
go sometime this summer."
Mrs. Zoino was evidently pleased
with the happy thoughts the planned
visit brought to her mind. Her voice
had completely lost its earlier sad-
ness and now she bubbled over with
enthusiasm. I couldn't get a word in
edgewise.
"Do you know what he told me?"
THE GIRL VINCE BROUGHT
to do that — I always understand
when Vinnie talks to me. I know
how difficult his life is and how com-
plicated it's made with his hectic
work schedule. He told me to
wait . . ."
There was no resentment in her
voice. There was the hint of disap-
pointment but, after all, she was his
mother; whatever her Vinnie was
doing was all right with her.
"Does this mean you won't see
Vince until some vague time in the
future?" I asked.
"Not if Vinnie has his way," Mrs.
Zoino said. For the first time, her
voice brightened. "I'm going out to
Hollywood to see him!"
This came as a total surprise. It
she went on. "He said he wants me
to go out there and live with him!
He told me, 'Mom, if you come out
to Hollywood, I'll fix you up so that
you'll live like a queen!' He made
me so happy talking that way."
When I was able to interrupt, I
wanted to know if she'd take Vince's
offer and go out to live in the lavish
surroundings that a grateful son had
offered his mother.
"Oh, I couldn't do that," Mrs.
Zoino replied. "I have my family
and friends here in Brooklyn. My
roots are too deep in this soil to
just pick up and leave. And, besides,
there's my job . . ."
That was another surprise.
"Your job?"
"I work in the school cafeteria,"
Mrs. Zoino said matter-of-factly.
"In the school cafeteria?"
"Yes, I work behind the self-
service counter at Eli Whitney Vo-
cational High School . . . I've
worked there for a long time. And
I love it. I serve food to the chil-
dren."
It was the most interesting dis-
covery I'd made in the several talks
I'd had with Mrs. Zoino. It was more
of a surprise because, when I had
spoken with her on previous oc-
casions for TV Radio Mirror — she
had mentioned nothing about her
job in the school cafeteria. So I
wanted now to hear more about it.
"Are you a celebrity in the eyes
firmed what she already said about
being Vince's mother.
"The children are all well-be-
haved. Once they get to know me,
all they want to do is talk about Vin-
nie. They keep asking me the same
question you asked— when will he
come home? And they also want to
know if they might have a chance to
see him. I tell them to be patient."
Mrs. Zoino told me then that she'd
have to wait until school closed for
the summer before making the trip
out to the coast to visit Vince.
"I just couldn't leave all my fans
in the lurch, could I?" she laughed.
I shifted the conversation back to
Vince and asked his mother what he
talks about when he phones her.
HOME TO HIS MOTHER . . .
of the kids?" I asked the mother of
TV's most famous physician.
There was a brief burst of laugh-
ter. "Oh, the new girls there come to
me all the time and ask, 'Are you
really Ben Casey's mother?' They
seem to think that the mother of a
■ big star like Vince Edwards should
not work — especially at such a rou-
tine thing like a countergirl's job.
But I tell them before they have a
chance to say it. I tell them, 'I know
you'll ask me what I'm doing here.
My answer is that I love you
all . . .'"
The kids who hear who she is for
the first time are very surprised and
don't seem able to believe it, even
after the veteran students have con-
"He always asks how everyone is
feeling, and tells me how much he
misses me. Then he'll talk about his
work — how much he loves it. But
he's always so very tired. He tells
me that he works thirteen and four-
teen hours a day. I can understand
how difficult it is. I can see the re-
sults in the way he acts. As a doctor
on TV, I think he's getting better all
the time. The shows are really great.
Even real doctors call me and com-
pliment me on my son's perform-
ances. You can imagine how I feel
then!"
I asked Mrs. Zoino kiddingly
about Ben Casey's video rival, Dr.
Kildare. Does she ever watch that
program, {Continued on page 86)
37
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39
THE LENNON SISTERS DISCUSS:
"Even a boy and girl who've grown up
in the same neighborhood are strangers
when they go to live as man and wife."
"The children (of a mixed marriage)
must have a bad time — because they
grow up without believing in anything."
"Something about a religious wedding —
no matter what faith — makes a couple
realize the importance of their vows."
The woman on the front page stared
out at the world with heartbreak in
her eyes. Her husband had deserted
her, and now her young son had been
picked up on a narcotics charge. Under
her picture, the frightening question
blazed for all to see: "Has the Ameri-
can Family Gone Bankrupt?"
Turning from the debris of shat-
tered marriages and homes, both in
and out of show business, TV Radio
Mirror went to a family which has
become for the vast television audi-
ence a symbol of love, responsibility
and purposefulness in family life. We
showed the picture and its question
to the singing Lennon Sisters and their
parents, noting: "Cases like this are
becoming common — yet the public
thinks of you Lennons as a decent
American family built on something
more substantial than matchsticks.
What's your master plan for happiness
and lasting success in marriage?"
Here, in an exclusive interview, is
what the Lennons had to say:
"Honestly," said Peggy, "I don't
think any of us has such a thing as a
'master plan' for being happy or mak-
ing a go of marriage. Dad and Mother
. . . and DeeDee and Dick . . . they are
happy, all right, but it's not because
of any particular gimmick or formula."
"Dad always said a good family is
like a hand," Kathy pointed out. "The
fingers might (Continued on page 88)
to my tune,
IN CASE you didn't know, Hugh
Downs doesn't hit his wife any-
more. He hasn't hit her since that
day some fifteen years ago. And it's
only when some elephant-minded
viewer needles him about it that he
even recalls the occasion. Hugh him-
self publicized the love tap before
millions of startled viewers on Jack
Paar's show a few years ago. He
matter-of-factly mentioned that,
early in his marriage, he found it
necessary to belt his wife. Hugh has
never once regretted the wife-slap-
ping, but it was the kind of slip of
the tongue that makes a man wish
he'd bitten it instead.
"Maybe I didn't make myself
quite clear that night," smiles the
easygoing, forty-year-old television
veteran. "People wrote, called and
wired accusing me of being a wife-
beater and un-American. Actually,
I was very young when the 'belting'
took place. I wouldn't resort to it
now, of course. Some men thrive on
the perpetual cruelty to women.
They do it to give themselves a sense
of security. I deplore that kind of
behavior."
Normally, viewers are in complete
rapport with Hugh. They avidly buy
the products he commends, and
they quietly support his stand on al-
most everything from motherhood
to brotherhood. But he aroused
some fans' ire on another occasion
when he discussed Nazi butcher
Adolph Eichmann's case with actor
Ben Gazzara over the airwaves.
"I enjoyed the session with Ben,"
says Hugh. "He has enlightened
ideas of the penal code. I was quite
surprised at the reaction of viewers
who blasted both our thoughts on the
subject. I felt that Israel had missed
a great opportunity when she con-
demned Eichmann to death. To kill
this wretch was to give him final
victory. He would have to be slain
six million times for equal retribu-
tion. It goes without saying that I
haven't a shred of sympathy for this
inhuman being. I simply thought he
should have been incarcerated as
a living monument."
Hugh now wishes he might have
clarified his position a little better.
"I could have stressed that if killing
Eichmann brought back one man,
woman or child, I'd be in favor of
it. But vengeance only begets venge-
ance. I still think it would have
been a great step forward for civil-
ization had (Please turn the page)
41
-
No regretting for Hugh Downs . . . but he wouldn't mind forgetting one or two things !
continued
Israel not sentenced him to die."
Hugh believes in being outspoken
on all matters, in intelligent airing
of controversy. But the Akron,
Ohio-born walking encyclopedia
rarely attempts to be the funny man
on the show. "I passed up glorious
opportunities to have said smart-
alecky things," he says. "But I never
mourned for not having said them.
At the moment, they might have ap-
peared clever, but they wouldn't
have served me well in the long run.
"I remember one evening," he
says with a chuckle, "when we were
kicking around the word 'derriere'
on the show. Somebody wisecracked
'Destiny shaped my end!' and the
audience roared. I was concentrat-
ing on the next commercial, ob-
livious to all the horseplay. Finally,
it was time to go on. I stood in front
of dozens of tins of sardines, soups,
dog food, and so on, and said:
'Friends, no matter what size can
you have — ' and then I stopped as
the audience suddenly went wild. I
just stood there sheepishly with a
can opener in my hand."
Many viewers have written in ask-
ing: "Do you really feel so en-
thusiastic about all those products?"
The announcer's answer is: "Yes."
Hugh claims he has often turned
down advertising copy which he
felt was "fraud-flavored or silly."
Even his own studio copy has
been treacherous. One time he
started interviewing a girl who had
been a sniper in the Russian Army.
"She was a Russian-type Zsa Zsa
Gabor," says Hugh. "She had mar-
ried four times and had marvelous
anecdotes connected with each man.
My copy sheet, prepared by the
show's researcher prior to the start
of each program, read: 'I under-
stand her first husband was some
kind of a nut.'
"Without thinking, I blurted out:
'Exactly what kind of a nut was
your first husband?' "
It's not often that the glib, highly
articulate announcer finds himself
groping for words, but Jack Paar
possessed the knack of tongue-tying
him. "We'd talk about something
prior to going on the air, which
frankly wasn't meant to be said on
They're always in tune now: Hugh,
his son H.R. and daughter Deirdre.
television," reveals Hugh. "As soon
as the program would commence,
Jack would casually say: 'Hugh, tell
them about the joke you heard to-
day.' I'd look at him flabbergasted,
and say: 'But Jack, I can't . . .' He'd
just lean back and laugh."
As for Paar himself, he never
seemed fazed by anything that oc-
curred on his show. "I can't recall
ever having heard him duck a ques-
tion from the audience," says Hugh.
"One night we all held our breath
when a youngster asked him point
blank: 'Is it true that you wear a
toupee?' Jack grinned and admitted
he did."
Hugh likes to reminisce about
Paar, and the days when viewers
would write in insisting that either
the announcer should tell Jack off,
or Jack should stop picking on him.
"I never understood where they got
either impression," says Hugh.
Now Hugh is leaving the "To-
night" show to take over "Today,"
beginning September 10th, and he's
currently figuring out how he'll find
time to sleep with his new schedule.
He just hopes nothing occurs on the
morning show which might embar-
rass either him or the sponsor as it
did when actress Rosanna Pagann
was a Paar guest.
"She was relating the plot of her
off-Broadway play," says Hugh.
"She kept talking about how the
viceroy in the play did this, how
the viceroy in the play did that.
Viceroy, viceroy, viceroy — that's all
I kept hearing. Finally, I couldn't
stand it any longer. 'Please,' I said.
'Don't mention viceroy on this Kent
cigarette-sponsored show again, or
we won't have a sponsor!' '
Sponsor trouble, though, is some-
thing Hugh need never worry about,
and that goes for his highly-rated
"Concentration" game show (seen
daily at 11:30 a.m. edt over NBC-
TV). "They've been wonderful,"
agrees Hugh. "Why, they're even
partially sold on my favorite idea to
give away one million dollars as a
prize on the show. They haven't
batted an eye about the money. It's
just a question of working out the
tax and insurance problems."
That's what we've been saying
right along: Money isn't everything
— especially when you've got a good
left hook! — Bob Lardine
42
LESLIE UGGAMS
/
/
i
\ modern Cinderella story for all those who like old-fashioned, happy endings
Like a good deed in a naughty world, this is a story TV can be proud of
The girl had spent ten years struggling toward this
moment. Two years before, she had been a gan-
gling, awkward fourteen, with the wrong hairdo
and the wrong clothes. Only her answers — as a
contestant on "Name That Tune" — had been right.
And the way she sang — that had been right, too.
The years before that, she had been just another
Negro kid scampering around the stoop of her
house on New York's upper west side, playing
hop-skotch and potsy with the other children,
colored and white, from the neighborhood.
But tonight she was someone different. Tonight
could be the beginning — or the end — of everything.
She took, a deep breath and stepped forward
onto the stage. Only someone who had known her
through all the other years could have spotted the
inner trembling. Her heart beat a little faster, her
eyes blinked once or twice in the harsh light of the
TV studio. Then her cue sounded and the camera
found her. She started her song. When she started,
she was a sixteen-year-old nobody. When she
finished, she was a star.
The show was "Sing Along With Mitch" ... the
girl was Leslie Uggams ... the moment was one
she would never forget. Whatever successes came
after it, this would always be her greatest triumph;
this would always be the night she found out what
it was like to have a dream come true.
Her mother had often prayed for a miracle —
just a small one — so that life would be easier for
Leslie and her older sister Frances.
"I wouldn't say that any 'miracles' occurred for
Frances or for me," says Leslie now, "but I cer-
tainly had a lot of very good fortune in my friends!"
Leslie's mother, Juanita, a former chorus girl
with New York's famous (Continued on page 95)
44
^iV
When the clock strikes, Cinderella
is on the run. Busy Leslie uses a
taxi as study-hall (1 ) en route to
rehearsals. She gets pointers from
Mitch Miller (2), then, during a
break, the crew invites her to join
a friendly card game (3) and share
an ice cream (4). A quick retouch
on her makeup (5) and she's ready
for "Sing, Sing, Sing." (6) A long
day, but she's home in time to help
her mother (7 and 8) with dinner.
W?>
\.
8
45
Like a good deed in a naughty world, this is a story TV can be proud of
The girl had spent ten years struggling toward this
moment. Two years before, she had been a gan-
gling, awkward fourteen, with the wrong hairdo
and the wrong clothes. Only her answers — as a
contestant on "Name That Tune" — had been right.
And the way she sang — that had been right, too.
The years before that, she had been just another
Negro kid scampering around the stoop of her
house on New York's upper west side, playing
hopskotch and potsy with the other children,
colored and white, from the neighborhood.
But tonight she was someone different. Tonight
could be the beginning — or the end — of everything.
She took, a deep breath and stepped forward
onto the stage. Only someone who had known her
through all the other years could have spotted the
inner trembling. Her heart beat a little faster, her
eyes blinked once or twice in the harsh light of the
TV studio. Then her cue sounded and the camera
found her. She started her song. When she started,
she was a sixteen-year-old nobody. When she
finished, she was a star.
The show was "Sing Along With Mitch" ... the
girl was Leslie Uggams ... the moment was one
she would never forget. Whatever successes came
after it, this would always be her greatest triumph;
this would always be the night she found out what
it was like to have a dream come true.
Her mother had often prayed for a miracle —
just a small one — so that life would be easier for
Leslie and her older sister Frances.
"I wouldn't say that any 'miracles' occurred for
Frances or for me," says Leslie now, "but I cer-
tainly had a lot of very good fortune in my friends!"
Leslie's mother, Juanita, a former chorus girl
with New York's famous (Continued
on page
95)
When, the clock strikes, Cinderella
is on the run. Busy Leslie uses a
taxi as study-hall (1 ) en route to
rehearsals. She gets pointers from
Mitch Miller (2), then, during a
break, the crew invites her to join
a friendly card game (3) and share
an ice cream (4). A quick retouch
on her makeup (5) and she's ready
lor "Sing, Sing, Sing." (6 1 A long
day, but she's home in time to help
her mother (7 and 8) with dinner.
45
^1
pi
m
Early in 1954, two lonely people met at a party
neither of them really wanted to go to. . . . Fred
MacMurray hadn't been going out at all. His wife
Lillian had died in 1953, after a long and heart-
breaking illness. Fred, still not over his loss, was
devoting himself to his children, Susan, 14, and
Robert, 10. But that night — when friends simply
wouldn't let him say no once more — he came to the
party. He sat down next to beautiful, blonde June
Haver. They'd worked in a picture together once,
but that was years before and a great deal had
happened to both of them since then. . . . In October
of 1949, the man June planned to marry, Dr. John
We live pretty simply. We're the
kind of people who kind of
like doing things ourselves and
it isn't too complicated a
household. We both putter
around the kitchen. I en-
joy snooping around with
cookbooks; they read just
like literature to me. June
does the secretarial work
— whatever there is of
it that gets done — I'm
no letter-writer. I do
most of the repair work and
the putting things together
— including a doll house
and all the furniture, which came with such
elaborate instructions that it took me the whole
night before Christmas last year. We don't have
a nurse, we just have one girl who comes in every
day from eight to four, and if that sounds chintzy
for an actor's family, there's nothing chintzy
about it. We like the privacy of our house at
night, we enjoy taking care of the kids. Once in
a while when we go out — and, believe me, it's
Duzik, died of uremic poisoning. June, who till then
had seemed to have everything — love, beauty, talent
— faced life with an empty heart. She sought com-
fort in religion: She entered a convent. For 7
months, she served a novitiate — then, painfully,
realized that this was not for her. She couldn't turn
her back on the world. . . . At that party, when they
met again, Fred realized that neither could he. That
night, these two began — together — to climb back
from the depths of their despair. Five months later,
they were married. This is Fred's story of the road
back and of the life, he and June managed to build
together in the years since then. — The Editors
once in a long while — we get
June's aunt and uncle or her
mother to come over and
stay. They adore Laurie
and Katie, our five-
year-old twins, and the
kids adore them. Ev-
ery family has to
work out a way of life
for themselves, and this
is ours. . . . June is a born
wife and mother. She's also
a talented actress — we met
first, years ago, making a
picture together, "Where
Do We Go From Here?"
But when we met again, in 1954, she'd already
given it up. She'd worked since she was very
young. She was exactly seven when she sat down
with the Cincinnati Symphony Orchestra and
played the andante from Haydn's "Surprise
Symphony" at the weekly children's concert.
That was just after she'd won the gold medal in
the Post Inquirer competition and, from then
on, she was in business. ( Continued on page 93)
kf W* MacMoRRAr
He dated my sister...
I'm happier than I've ever been in my
life. The world is a grand, glorious,
wonderful place — and it's all because
of a man named Lou Adler. . . . We argue
about just one thing
— Lou and I — and
that's the first time
by Shelley Fabares
we met! Lou insists it was back in 1958,
but as far as I'm concerned it wasn't
until a night in December of 1960. I
can't imagine meeting Lou and not re-
membering it, but he
says that one day in
1958 he came along
48
but he 11 marry me:
f
on a layout Jan and Dean, Roberta Shore
and I were doing. The whole afternoon,
as I do remember it, was very hectic,
so it is possible I did meet him then.
But still I find it hard to believe. Lou
is not an easy man to forget. ... He
is a young, talented man of twenty-six
who is head of the West Coast office of
Nevin-Kirschner Music Publishing Com-
pany. In addition, he is the personal
manager for the popular singing team of
Jan and Dean. Also, in addition, he is the
ideal man for me! . . . Lou also insists that
we met for the second (Continued on page 82)
49
•
1
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M
IS THE HONEYMOON
Is America's romance with
her ending? Here is the in-
side story of the incredible
plot against the Kennedys!
Eleanor Roosevelt could have warned
her about it: so could Bess Truman
and Mamie Eisenhower. They had been
First Ladies, too, and they knew it
was inevitable that the plot against
Jacqueline Kennedy would get under
way. Perhaps the only thing they
couldn't have known was how bad it
would be — how vicious.
But it was inevitable that the petty
people, the jealous ones, would begin
after a while to whisper about Jackie
and to try to destroy her. They had
waited while she had her honeymoon;
they had waited while their intended
victim charmed an entire nation, in-
deed an entire world. Patiently, they
waited as her beauty and charm were
extolled; her way of dressing copied;
her every move — with her husband,
with her children, on her own — re-
corded and delighted over. "She is
the woman (Please turn the page)
OVER FOR JACKIE ?
51
What they're saying about Jackie as a wife ... as a mother ... as First Lady
I W BB BP W WWWP * ^
v
'-
\
who has everything — including the Presi-
dent of the United States," someone close
to Jackie once affectionately said. And
while the rest of the nation affectionately
agreed with this, the plotters — their jeal-
ousy growing in them like a fungus —
continued to wait.
There was no doubt that they would
eventually strike. The only questions
were: When? and How? and Is there any
danger she'll strike back?
All three questions, it turned out, were
pretty easy to answer.
When? "You strike," the thought
seemed to be, "when the victim's hus-
band becomes most vulnerable. When
there's something like a war threat
(wouldn't that be nice!) ... a recession
(dandy!) . . . any kind of catastrophe (the
more catastrophic, the better!). When
anything's going on that gets the citizens
upset and the first man they're bound to
blame for it is their President. So —
through him — you get her!"
How? "You strike swiftly, and hard.
One-two-three — let her have it! You pum-
mel her with tiny whispered criticisms
. . . and let the wind take them from
there. For the wind will swell the whispers
and carry them to all corners of the
nation — swiftly! (Continued on page 78)
•
1 "Not properly dressed," they criticize, when the
First Lady doesn't wear a hat to church. 2 "Not
dignified," they whisper, when they see her holding
hands with her husband. 3 Yet her French hair style
and elegant gowns are labeled "too chic." 4 "Too
many eggheads invited to the White House," they
cry — and 5 "Her parties are too lavish!" 6 India
loved the way she followed local customs — but,
back home, there was grumbling about "unneces-
sary extravagance" and that "her place is with her
husband and children." 7 When cameras record
her life with her children, they snipe that she's
"using John Jr. and Caroline for publicity." 8 They
even attack her through her daughter— charging
Secret Service men "take care of Caroline's pony!
:£^
52
I
k
M
V
iy%
\
I
4?- ft*
*Si
> 4
i
What they're saying about Jackie as a
wife
as a mother ... as First Lady
1 1I
^U
*
V
who has everything— including the Presi-
dent of the United States," someone close
to Jackie once affectionately said. And
while the rest of the nation affectionately
agreed with this, the plotters— their jeal-
ousy growing in them like a fungus —
continued to wait.
There was no doubt that they would
eventually strike. The only questions
were: When? and How? and Is there any
danger she'll strike back?
All three questions, it turned out, were
pretty easy to answer.
When? "You strike," the thought
seemed to be, "when the victim's hus-
band becomes most vulnerable. When
there's something like a war threat
(wouldn't that be nice!) ... a recession
(dandy!) . . . any kind of catastrophe (the
more catastrophic, the better!). When
anything's going on that gets the citizens
upset and the first man they're bound to
blame for it is their President. So —
through him — you get her!"
How? "You strike swiftly, and hard.
One-two-three — let her have it! You pum-
mel her with tiny whispered criticisms
. . . and let the wind take them from
there. For the wind will swell the whispers
and carry them to all corners of the
nation — swiftly! (Continued on page 78)
Lf
<fcT
rjtf .« >*> t
vMi
•^rj
1 "Not properly dratted," they criticize, when the
First Lady doesn't wear a hat to church. 2 "Not
dignified," they whisper, when they tee her holding
hands with her husband. 3 Yet her French hair style
and elegant gowns are labeled "too chic." 4 "Too
many eggheadt invited to the White Home," they
cry — and 5 "Her parties are too lavith!" 6 India
loved the way the followed local customs — but,
back home, there wat grumbling about "unneces-
tary eitravagance" and that "her place it with her
hutbond and children." 7 When camera! record
her life with her children, they snipe that she's
"using John Jr. and Caroline for publicity." 8 They
even attack her through her daughter — charging
Secret Service men "take care of Caroline's pony!
.1
k
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,m
52
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I
I
What is it that really holds
people together? Is. it love? Or
is it loneliness? Are they united
by their similarities? Or by their
differences? And can people —
family or friends — actually be
held too close together? These
are the questions we'll try to an-
swer as we look at the two fami-
lies who come to life on TV each
day in "As The World Turns."
Viewers first met the Hughes
and Cassen families six years
ago and, watching them in the
daily drama, have come to know
them as real people. That's how
we'll treat them, too, as we look
at their problems and try to see
what these might mean in your
own life.
In our discussion, my descrip-
tions will be in regular type (like
this) and Dr. Wolk's comments
will be in italics (like the follow-
ing) :
From the psychologist's view-
point, a TV slice of life can some-
times give a thoughtful viewer
insight into her own behavior.
She certainly won't want to pat-
tern herself after some guilt-
ridden heroine — but seeing such
a person up close might help her
avoid similar weaknesses in her
own personality. And looking in
on family relationships that are
honest and healthy can be both
entertaining and enlightening!
Close families like the Hughes
and Cassens stimulate and enrich
each other. In a way, they lead
each other's lives. Such strong
emotional ties can be upsetting
Facing page: Hidden heartaches menace
the Cassens (Nancy Wickwire and Nat
Polen). Panel above: Can Jeff (Mark Ry-
dell) and Penny (Rosemary Prinz) stay
reconciled? The Hugheses (Helen Wag-
ner and Don MacLaughlin) haven't al-
ways told daughter Penny the truth!
And even fine old Judge Lowell (Bill
Johnstone) has lied "for the family."
when the members are neurotic
or unstable, but can be a blessing
if they're normal, happy people.
Two such families can support
each other in times of crisis.
These two TV families are not
identical. The Cassens are wealth-
ier, members in good standing
at the local country club, and
ever conscious of their standing
in the community. The Hugheses
are comfortable, outgoing and
close-knit.
The Cassen family unit con-
sists of Doug, a doctor; his
wife Claire; her daughter Ellen;
and Judge Lowell, the father of
Claire's first husband.
The Hughes family unit con-
sists of Chris, an attorney; his
wife Nancy; his dad, Grandpa
Hughes; the three children —
Penny; Don, a lawyer; Bob, an
intern — Bob's wife Lisa and son
Tommy; Don's wife Jan; and
Penny's husband, Jeff Baker.
It was the friendship of Ellen
and Penny, who were school-
mates, that brought the two fam-
ilies together, but they also have
professional ties. Dr. Doug Cas-
sen is the Hugheses' family physi-
cian, and Chris Hughes is the
Cassen attorney — at one time de-
fending Doug as both his friend
and client.
Here are two families held to-
gether by far more than friend-
ship. They are neighbors, they
inter-twine professionally, and
seem to complement one another
socially and economically. How-
ever, in (Continued on page 92)
by ARTHUR HENLEY
with Dr. ROBERT L.WOLK
55
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I try to share my husband's new life
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by Mrs. Bob Conrad
Looking through Robert's seraphooks. it
always amuses me to read about the "rare
appearances" of Mrs. Conrad. "It's so nice
to see them out together," the captions say.
Yet, somehow, half the pictures in the hook
are of me! . . . Still, it's true, I don't go with
Robert to all of the parties and premieres
and functions lie attends as part of liis job.
Many of llicsc nr<> (€U>ntitlu*d on pnfir 00 )
/
tiimt' a ntar on "Ha
en hintn of "domestic trouhl
cen tl»*» Boh Conrucle. No
iilcnro to tell TV Radio Mirror her side of it.
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Is Sinatra a right guy— or a wrong one? For the answer to that
one, don't ask the hipsters. And don't ask the press. But around
the world, you can put the question to any one of thousands
of needy children and get your answer. Kids have that instinct
for knowing a friend when they spot one. They don't want to
hear about the kind of headlines Frank Sinatra is famous for—
scrapes and fist fights and dames and Clanantics. For them, the
news is Frank's global tour putting on benefits for underprivi-
leged youngsters. . . . The trip cost about a quarter-million, and
no one but Frank paid the tab. Why? To find out, turn the page.
59
A memory sent Frank
around the world. One of
his first stops: Israel
continued
Some said it was the White House urging
a better image for their friend; others
said it was Frank's way of forgetting a
broken engagement. But perhaps closest
to the truth were those who guessed it
was a memory that sent Frank around
the world. . . . Once he had been a family
man ; once home and children had really
mattered. Whatever happened along the
way, Frank has never stopped caring
about children. Perhaps now, as he
found a way to help them, he was also
finding his own way back to the man he
was before high life replaced home life.
A changed Frank meets Prime Minister Ben Gurion;
speaks to Arab and Jewish children to launch the
Sinatra Centre in Nazareth; dines with
Archbishop George Hakim, Nazareth Mayor Zaoubi.
60
^f^im.
(!)
■■••••
At top right, he plants "Nancy's Tree" in
Jerusalem's Histadruth forest. At left
and above, he finds language is no barrier
as he meets with kindergarteners.
61
A memory sent Frank
around the world. One of
his first stops: Israel
continued
Some said it was the White House urging
a belter image for their friend; others
said it was Frank's way of forgetting a
broken engagement. But perhaps closest
to the truth were those who guessed it
was a memory that sent Frank around
the world. . . . Once he had been a family
man; once home and children had realty
mattered. Whatever happened along the
way, Frank has never stopped caring
about children. Perhaps now, as he
found a way to help them, he was also
finding his own way back to the man he
was before high life replaced home life.
f
f
A changed Frank meets Prime Minister Ben Gurion;
speaks to Arab and Jewish children to launch the
Sinatra Centre in Nazareth ; dines with
Archbishop George Hakim, Nazareth Mayor Zaoubi.
<
St
h^
f
a
m
At top right, he plants "Nancy's Tree" in
Jerusalem's Histadruth forest. At left
and above, he finds language is no barrier
as he meets with kindergarteners.
44€liiA^i4A^M>Wlv^^0i^ bn&ir&AyyA
//
• • •
RAYMOND BURR
MY MARRIAGE
It was obvious to the "Perry Mason" cast: Barbara Hale was
seriously troubled. But why? There was only one man in her life,
Bill Williams, her husband now for (Continued on next page)
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BARBARA HALE
IKIIillilllllllllllllllflllllllillili
64
(Continued)
sixteen years; they had three beauti-
ful children, a fashionable ranch house
in San Fernando Valley, an enviable
bank account. Didn't this add up to-
every thing a woman could desire?
Yet the close-knit cast could tell that
their Delia Street was in some kind of
trouble. Barbara Hale appeared gaunt
and tired that day as she reported for
the seven a.m. call. Purposely but po-
litely, she avoided conversation.
"Wonder what's bugging her," an ac-
tor said as she left the set.
This was not idle curiosity, but deep
concern. The members of the "Perry
Mason" show are a real family, almost
as much as if they were tied together
by an umbilical cord. Years of film-
ing the television series together, years
of sharing each other's good fortunes
and even disappointments all have
blended to make them a family unit.
So it was not unusual that last spring
the company was worried. Usually, Babs
(as most call her) would stand around
and chit-chat with the predominantly
male cast. They would sip steaming
cups of coffee, crack jokes and discuss
the headlines of the morning until it
was time to face the camera.
This morning, Barbara would have
no part of the coffee gang. She didn't
even take a cup to her room. When it
was time for her first scene, she emerged
calmly but coolly. Her face wore a
rigidly fixed expression.
Soon the routine of playing Delia
Street, Perry Mason's Girl Friday,
seemed to snap her back to normal.
Yet, throughout the day, Barbara peri-
odically lapsed into stony silence.
"She looks like she didn't get a
wink of sleep all night," one of the
crew members whispered.
The following days found Barbara
in the same mood. One of worry. One
of apprehension.
Burr and the others tried their best
to thaw out the actress. They invited
her to lunch. She politely refused.
Soon whispers circulated around the
set as to the cause of the trouble.
"Have you heard?" one of the play-
ers said. "Barbara and Bill are think-
ing about a divorce."
This dumbfounded the other.
"Why, I can't believe it," he replied.
Yet, it was true. Barbara and hus-
band Bill Williams were having marital
problems. It was a closely guarded
secret, though. Only a handful of their
close friends knew.
Most Hollywoodians have become
conditioned to accept the unexpected
with only a blink of an eye. Too many
so-called perfect marriages have been
torn apart in recent months.
Still the intimates of Barbara and
Bill were shocked that these two were
having trouble.
They had married in storybook fash-
ion on June 22nd, 1946. The wedding
took place in a stone church outside
of Barbara's hometown, Rockford, Il-
linois. Their courtship was equally as
romantic. They met while making a
screen test together two years previ-
ously at the old RKO Studios. Both
wound up with contracts. Both fell in
love almost at first sight.
Bill's career, at the time of their
marriage, was at its peak. Barbara's was
just getting into orbit.
"This will be a marriage for keeps,"
Bill told newsmen at the wedding.
Following a honeymoon at Niagara
Falls, the two settled down in a two-
bedroom San Fernando Valley home.
The breaks were really going Bill's
way. He became one of television's first
big cowboy stars, starring in the "Kit
Carson" series. Barbara, too, was riding
high and very much in demand.
One bright fall day, Barbara was
ecstatic as she emerged from her doc-
tor's office. And when she told Bill, his
chest swelled bigger than Mickey Har-
gitay's. In July of 1947, Jody was born.
Again, in 1951, the stork stopped off at
the Williamses. This time with Bill Jr.
And another little girl came along in
1953, thus rounding out the family.
Barbara appeared happier having
babies than making movies. In fact, one
day in 1952 when she was pregnant
with her third child, the actress came
close to making a decision that would
affect her future. She wanted to retire.
Bill left the decision up to her. Then
came an opportunity the actress
couldn't afford to turn down.
Enter "Perry Mason"
She couldn't refuse to play Delia
Street in the "Perry Mason" TV series.
The series appeared to be a sure win-
ner. And the pay was tops.
Bill took Barbara's good fortune as
enthusiastically as she did, even though
his own career was on the downhill.
Nonetheless, the next few years were
happy ones. The Williamses moved into
a larger home, complete with swimming
pool. The three children were tanned
and healthy in the California sun.
Season after season, the series was
renewed. Each year, Barbara received
a fat raise. Other rewards, too, like the
coveted Emmy.
Then, according to their circle of
friends, trouble signs began to appear.
"Bill's career practically was at a
standstill," one of them confided to TV
Radio Mirror. "He remained home
most of the time. Therefore the rearing
of the children more or less fell in his
hands. Barbara was on call for the
series nearly every day, leaving at the
crack of dawn and not returning until
late at night. Naturally, Bill felt neg-
lected. Felt hurt. Felt that Barbara
wasn't spending enough time being a
mother." >
How could she? When not working
on the soundstage. there were other
demands. Interviews, public appear-
ances and other musts limited the time
she had to spend with the family.
"She spent more time with her tele-
vision family," another friend said.
The once happy home in the Valley
became a potential tinderbox. Accord-
ing to a friend, Bill and Barbara had
sharp words, followed by days of icy
silence.
How long could this situation last?
Divorce seemed to be the only alterna-
tive. Bill didn't want to be married to
Delia Street. He wanted Barbara Hale
as his wife. Barbara felt he should he
more understanding.
The relationship of Barbara and
Ray Burr since the show's inception has
been one of brother and sister. When
Ray was hospitalized several times with
a chronic throat condition, Barbara was
usually the first to see if she could do
anything for him.
So when the chips were down and
Barbara obviously was grieving about
conditions at home, it was Burr who
was equally concerned.
Burr and Williams always have been
the best of friends. The two have en-
joyed many evenings together along
with Barbara.
So perhaps Ray sensed the main prob-
lem the two were facing. Bill felt neg-
lected; Barbara, persecuted.
"If Bill could only become busy
again," the speculation went. "He's
brooding too much. Spending too much
time at home."
Unknown to either Bill or Barbara, a
campaign was waged to help them. Bill
soon found himself on the set of the
"Perry Mason" show. Not as a guest
to see his wife, but as an actor. He
had been cast in a guest-starring role.
On the set, Ray went out of his way
to make Bill feel at home. He took every
opportunity, too, to remind Bill how
lucky he was to be married to a girl
like Barbara. He used the same tactics
on Barbara.
Suddenly, Bill also found himself up
for two motion picture roles.
And as for Barbara, the smile re-
turned to her face. Why? Her close
friends attributed it to Ray Burr's help.
He began to kid her about her home
life — but, each time, the joke had a
point to make. "He made us laugh at
our problems ... he made us laugh and
love again . . ." is how she described it.
"Ray speaking as a big brother to
his sister," one of her closest friends
confided, "bluntly told her that she
wasn't spending enough time with her
family.
"Even if it meant sacrificing a por-
tion of her career, she should do it.
Being a good wife and a mother should
always come before being a good ac-
tress."
Will Barbara now decide to retire
and devote full time to Bill and the
children? Her friends think not, main-
ly because the marriage is on an even
keel again.
So even, in fact, that Barbara and
Bill stole away for a second honeymoon.
Just the two of them. They spent ten
days in their power cruiser off the
Southern California coast, and the trip
did much to reassure them that their
love is too precious to allow anything
to destroy it.
Naturally there will be other prob-
lems that will come between them in
the future. They know, however, that
their love for each other is stronger
than ever. They know that Raymond
Burr and their other friends are de-
pending on them. Are on their side.
They've vowed not to disappoint them.
— Gal York
See Ray and Barbara in "Perry Mason,"
CBS-TV, Sat.. 7:30 to 8:30 p.m. edt.
ON THE
SUNNYSIDE
MIDWEST
Kent Slocum's listeners leave their
worries on the doorstep when he beams
KOTA's good sound to Rapid City, S.D.
■ Kent Slocum tries to walk a balanced road in pro-
graming his "Music on the Sunnyside." He says,
"I've tried to keep in mind that the radio audience
consists of many types of people and situations — the
man in his car, the homemaker in her kitchen, the
secretary in her office. To build friendship with the
listener is to beam the broadcast to each individual,
treating each individual as the most important person
in the audience." Heard weekdays 2:35 to 5 p.m., the
program provides a good cross-section of popular
music, "with the emphasis on good." Kent has a
classical music program, "Masterworks of Sound,"
Saturdays 1 :05 to 1 :55 p.m. In addition he does the
"Weathervane" on both television and radio, week-
nights 9:45 to 9:50. . . . Kent's family consists of his
wife Elaine — whom he met "sneaking peeks at her
Spanish papers at Huron College" — their four-and-a-
half-year-old daughter Jan — who is "a little ham" and
likes to visit Daddy at work — and a smoky-gray barn
cat, "Shadow" — who came from Elaine's father's 720-
acre farm. . . . Kent has an aversion to "any medi-
ocrity that rock 'n' roll affords" and to "immature
singers passing themselves off as professionals." He
is an optimist about future trends in popular music.
"The turn to better music seems evident with stations
turning from the Top 40 format to a better calibre of
music." It's always been "better" on the Sunnyside.
Jan, Kent's and Elaine's daughter, tries to be a "good girl,"
because Daddy may let her say a few words on the radio.
65
THEY
BELIEVE
In disaster or calm, St.
Louis counts on Rex Davis
for his way ivith the news
He's been coming into people's homes for such a long time
— 17 years on Station KMOX, St. Louis — Rex Davis, News
and Public Affairs Director, thinks that must be why
"they believe in me and accept me as one of the family."
Mayor Raymond Tucker echoed the sentiments of Rex's
large audience (42% of the total listeners for KMOX
news broadcasts) with his congratulations on Davis' "serv-
ice to the people of St. Louis and his excellent job of
maintaining the interest of the citizens in community
affairs." His listeners become interested because Rex him-
self is "terrifically interested in what is happening in the
world today and, like many, terribly worried about how it's
all going to come out. One likes to be optimistic, of course ;
nevertheless, the chance of eventual confrontation with
the forces of Communism seems to me to be virtually un-
avoidable. I don't know if people have changed or I have
become more aware of their thinking. I always realized
there was prejudice and bigotry in the world, but never
did I realize on how wide a scale it existed or how bitterly
narrow they could be until I started taking their telephone
comments. Under the anonymity provided by the telephone
they speak in such a manner that is not only sickening,
but almost frightening. Not all of our callers react in
this way, of course — many are good, sincere people who
have very valid comments or are genuinely seeking infor-
mation and they are a joy to contact. To me the most
dangerous thing in this country today is the very vocal
spokesmen of both Right and Left. I wish fervently that
we could organize the great middle-of-the-road group into
a militant army of moderates to keep things on an even
keel." . . . The opinions Rex Davis gives on the air are
always his very own. Unlike many newscasters, he writes
all his own material. In addition to the top-rated "Noon
News," Monday through Friday, Rex is heard, Monday
through Thursday, with two programs, "Strictly Editorial"
and "News Open Line." both part of KMOX Radio's "At
66
Your Service." On Fridays, he opens his "Mail Bag" and
reads letters from listeners. He continues his "At Your
Service" participation on Saturday mornings with "Ask
the Mayor," "Ask Your Congressman" and "Strictly
Editorial and News Open Line." And then, throughout
the week, he broadcasts hourly morning newscasts plus
news and business features heard later in the day. During
the summer months, Rex acts as the host for the band con-
certs in the park, broadcast on KMOX. He is moderator
for the medical forums sponsored by the St. Louis Med-
ical Society, St. Louis Globe-Democrat and KMOX. . . .
He somehow manages some leisure time for reading and
once-a-week bowling, averaging 170. His wife Suzanne
shares his love of listening to good music. . . . They live
in Kirkwood, in a six-room ranch house. They met when
both were singing in a church choir and have two grown
children, both married. . . . Rex Davis believes strongly in
his job and says, "I would do nothing else in the world."
67
RITA'S
A REAL
BELL-RINGER
68
Rita rings in juvenile talent for her Sunday show, "Starlit Stairway:
When Rita rings your bell, it's prob-
ably to give away money. Or so most
people think who watch Rita Bell's
"Prize Playhouse," Monday to Fri-
day from 9 to 10:20 A.M. on Greater
Detroit's WXYZ-TV. She introduces
feature films and comments on them.
She conducts interviews with cele-
brated guests, civic leaders and volun-
teer workers for charitable causes.
And she telephones viewers. She asks
a simple question first. If the second,
or jackpot, question is answered, the
prize can range from $25 to some-
thing around $1,000. Each time the 1
_L
Rita's son Michael (left) may have doubts about his mother
as bike mechanic, but she's a ringading whiz in the kitchen.
When the phone rings in Detroit,
people jump to answer it. After all,
it might be Rita Bell calling!
jackpot question is missed, the pot
rises $7. A toy jackpot grows along
with it and also goes to the winner.
Sample questions are: "What is the
married name of the actress who won
the latest Academy Award for best
icting in a starring role?" "Who is
the director of the Central Intelli-
gence Agency?" "Name the members
of 'I've flown through space club.' '
... Rita's other program is "Star-
lit Stairway,", a talent show for
youngsters and adults, Sunday at
12:30. Her unflagging cheerfulness
and warmth help overcome mike and
camera fright and keep the pace fast
and exciting. . . . Rita, a speech
graduate from Marygrove College in
Detroit, worked as a public relations
secretary until she sang informally at
a corn roast one day and was dis-
covered by John F. Pival, now presi-
dent of WXYZ, but then executive
vice-president. She was soon working
for the station as a weather girl, and
still fills in occasionally. One of the
busiest girls in town, Rita, who is
separated from her husband, keeps a
neat house for a handsome youngster,
Michael, 13, and her mother. She
bought her attractive home three years
ago. . . . She enjoys her work most of
all, then such pursuits as reading,
swimming, ice skating and teaching
speech. She listens to records, par-
ticularly those of Keely Smith, Andy
Williams and Bobby Darin. She is
also a rabid fan of Richard Burton
and would like most to meet George
Burns. Rita has interviewed hundreds
of famous people on her show. She
finds the best way to be bright and
perky in the morning is to go to bed
early the night before. In that way,
she's always sure to ring the bell!
69
T^he town "too tough to die" — Tomb-
stone, Arizona — is the locale for
the exciting adventures of Sheriff Clay
Hollister (Pat Conway) and news-
paper editor Harris Claibourne (Rich-
ard Eastham). Although the charac-
ters of Hollister and Claibourne are
fictional, the stories told on "Tomb-
stone Territory" are based on actual
incidents recorded in the files of The
Tombstone Epitaph, which is still
printed. Tombstone's fame grew from
a span of three years, beginning in
1877, when the town's founder, Ed
Schieffelin, discovered a rich silver-
ore mine. He named the lucky spot
"Tombstone." because he had been
TOO
TOUGH
TO
TV lawmen. His sheriff is not a grim
law enforcer, but a man who likes peo-
ple and attempts to dissuade them
from trouble before it happens. But,
when necessary, he meets danger head-
on, guns blazing. It was only natural
for Pat to become an actor. His father,
the late Jack Conway, was one of
Hollywood's top directors at MGM.
From the time he could talk, Pat was
convinced he wanted to be an actor.
His parents had no objection — but
they insisted he get an education first.
His early youth was spent on the fam-
ily's 125-acre ranch; he learned to ride
when he was five, and roped his first
steer when he was nine. While in
a home in the Hollywood Hills. . . .
Richard Eastham's first theatrical
break came when he replaced Ezio
Pinza on Broadway in "South Pacific."
He had landed a small part in the
Rodgers and Hammerstein show, then
was selected to understudy the star.
He did 56 performances opposite
Mary Martin before he joined the na-
tional company, with Janet Blair.
Richard's first straight role was with
the road company of the comedy "An-
niversary Waltz." When the play
reached the West Coast, Eastham de-
cided to remain there rather than re-
turn to New York. He played an im-
portant role in the lead-off film of
Pat Conway, Richard Eastham
re-create the thrills of frontier
days in "Tombstone Territory'
warned that he was headed straight to
the heart of the Apache country, and
all he would ever find out there would
be his tombstone. Within months after
his claim was staked, the area was
swarming with prospectors, miners
and tradesmen. Some of the wildest
gun battles of the West were fought on
Allen Street, "main stem" of the town.
Money and blood flowed like water.
During this period, Tombstone was the
mecca of famous gunmen, the hope of
prospectors, and a prey for tinhorn
gamblers and rustlers. Conway and
Eastham as the sheriff and editor com-
bine the pen and the sword to bring
law and order to the town. . . . Pat
Conway plays Hollister unlike most
Menlo Junior College, Pat realized
continuing a regular academic educa-
tion was pointless for him. His parents
insisted he finish — or support himself.
He took them up on their challenge
and struck out on his own. He got a
job and enrolled at the Pasadena Play-
house, where he studied for a year. He
then set out for London, auditioned for
the Old Vic company, and was signed
as a regular member. World War II
took three years out of his acting life
when he served as a U. S. Marine. Aft-
er the war, he returned to Hollywood
and got roles in many top TV dramatic
series and several movies before Ziv
signed him for "Tombstone Territory."
Six-foot-two Pat is a bachelor and has
"Men of Annapolis," a Ziv production.
The studio was so pleased with his
work, they cast him in "Tombstone
Territory." Eastham is a native of
Opelousas, Louisiana, and is one of
seven children. When he was five, the
family moved to Missouri, and Dick
began voice lessons. At 16, he sang
bass in the famed St. Louis Grand
Opera Company. In 1941, he went to
New York to study voice — but the les-
sons lasted only a few months before
he joined the Signal Corps, where he
served for four years as a photography
officer. After his discharge, he headed
straight back to New York and singing
lessons. Six-foot-two Dick is wed to
childhood sweetheart Betty Van Allen.
70
E.G. MARSHALL
(Continued from page 33)
hauls out his bike and blithely cycles
off to work.
Unrecognized by most New Yorkers
— to whom a bicycle is a toy for fifteen-
year-olds and under, and fifteen may be
stretching it, at that — E.G. hears their
cracks as he makes his way up busy,
traffic-choked Third Avenue.
"Crazy bicycle, lookit ! "
"Where you pedalin' to, pardner?"
"Mama, see the character on the two-
wheeler . . . Ooooooh, nutty!"
"Unfair to us cabbies, that's what you
are."
"Hey, Mac, mind if I trot along
wich'a?"
So on and on E.G. pedals, till he
reaches Filmways Studio at 127th
Street.
There he gets off his bike, waves
back to a few neighborhood Puerto
Rican children on their way to school
(they're used to him by now), enters
the studio and — after a quick trip to
makeup and wardrobe — makes his way
to the brightly-lit and camera-eyed of-
fice of Preston & Preston.
One morning, just after he'd won the
Emmy as best TV actor, E.G. was ap-
proached by one of the neighborhood
kids, who asked him: "Mr. Defender —
can you tell me jus' one thing."
"Sure," said E.G.
"Why," asked the boy, "you ride bike
to work — big man like you?"
E.G. smiled. "For exercise, first of
all," he explained. "I'm not as young
as I used to be, you see, and a man has
to find a way of keeping fit. So for this
reason I ride my bicycle. . . . And — see
this big studio? Well, inside it's stuffy.
It's damp. It's pretty dark. Most of the
year I work inside this studio for nine
or ten hours a day. But this bike — for
a few minutes a day, at least — it keeps
me outdoors. . . . When I was a boy-
like you, I used to love the outdoors.
You do, don't you, son?"
The boy nodded. "Sure thing, Mr.
Defender," he said.
"Well," said E.G., "so did I. And I
guess you could say that this bike — in
a way, for a few minutes a day — takes
me back to my boyhood. . . ."
The place of E.G. Marshall's boyhood
was a tiny town in Minnesota — called
Owatonna; there, for a boy nearly half-
a-century ago, life was strictly Huck
Finn.
There was a river, of course — "We
fished there," E.G. says. "We swam. We'd
dig for freshwater clams. Mmmmm, I
can still taste them. Delicious, they
were."
There were woods — "We'd hike. We'd
build our tree houses. We'd find twigs
and whittle, making things to play with
or for our rooms, or for pretty little
girls to whom we felt we might like
to give a present."
There were caves — "Or more under-
ground huts, you might say, actually
built by us, and very well concealed.
Every boy had to have his own private
cave and the laws of concealment were
very strict."
There was a gentle family life — slow.
SHOULD I REFUSE
MY HUSBANDS DEMANDS?
Her husband made life unbearable . . . un-
til he learned his lesson the hard way . . .
No wife should miss this exciting story!
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T
V
R
71
T
V
R
72
loving, rich in the stuff of which mem-
ories are made: "Mother would bake
bread in the big kitchen. Or she would
prepare some of those Norwegian spe-
cialties. She would sit near the window
and darn our clothes. She would read
to us. These things I remember. . . .
My father worked for the telephone
company — it was quite an adventurous
job; the telephone was very new then.
And at night he'd come home from work
and regale us with stories of this new
modern wonder."
There was school, too, of course; one
of those red-brick one-room affairs — "I
liked school. I got my start in theater
there. In kindergarten, one day, I did
an imitation of Charlie Chaplin and all
the children laughed and applauded. In
a way, that was the beginning for me.
In first grade, I think it was, there was
a Christmas play and I played Santa
Claus, the leading role. In fifth or sixth
grade, we presented a spring pageant
and staged an oxentanze — ox dance —
and I was very proud to be chosen as
caller: 'Slap your thigh,' I called!"
It was, in fact, right after this oxen-
tanze when E.G. Marshall met his very
first fan. She was an immense woman
— the wife of one of the county's lead-
ing farmers — with a piercing pair of
eyes and an imperious voice that might
once have been used, succesfully, to call
the cattle home. She came up to young
E.G. now and said, boomingly:
"Boy!"
"Yes'm?"
"I've just come from a trip to Chicago
— don't you know."
"Yes'm?"
"And I saw some theatricals there.
One — a play — with a lad no older than
you. An actor he called himself. Imag-
ine, at that age. But no matter, the
point is, he was a professional actor,
and no better than you."
"Thank you, ma'am."
"Are you interested in a theatrical
career r
"Well, ma'am—"
"I think you should be. I know. I
know. Most lads from our country end
up like the corn that grows out there
beyond the road — all sturdy and hand-
some enough, but all of them yellow-
eared and all of them ending up one
same as the other. But once in a while,
nobody can explain why, a red ear
pops up in the crop. And I think that's
what you're going to be, boy; a red
ear o' corn."
"Maybe, ma'am."
"Well, good luck — if you act, that is.
And if you should ever act any of that
Shakespeare, think of me. I like his
writin's."
"Yes'm."
"You know who Shakespeare is,
boy?"
"No, ma'am."
"Well, you probably will some day.
You probably will. . . ."
The farmer's wife was right. Young
E.G. would know, and play, the writin's
of Shakespeare — and before not too
long.
But first came a baptism by music —
or "premature rock 'n' roll," as E.G.
likes to call it.
It all started with a guitar.
Someone gave it to E.G. as a present.
There were no music teachers in Owa-
tonna at the time, so E.G. plunked away
at the instrument till the chords were in
place and things didn't sound too bad
in general. After that — immediately —
he became the town's leading musician.
He continued plunking away — and after
a while he sang, too, at farmers' conven-
tions, ladies' club meetings, at the
Y.M.C.A., at church suppers. Most of
this was done for free — "though once in
a while I did get a quarter tip."
Then one afternoon when he was six-
teen or so, an elderly gentleman — an cx-
vaudevillian of sorts — got an idea and
contacted E.G. about it.
"You got an orchestra? 'Cause I
have some big ideas if you do," said
the man.
E.G. crossed his fingers, fib-style:
"Sure, I have an orchestra."
"How many fellows in the group?"
"How many you need?"
"Four."
"Just what I got!"
The elderly gentleman, delighted,
then explained: "My idea is to get a
band circulating 'round here for Sat-
urday night festivities. Now, if you and
your three friends are good enough — "
"Shades of Hades"
The first thing E.G. had to do, of
course, was to find three other musi-
cians. But he did, soon enough, in
neighboring towns — kids about his age;
a violinist, a piano player and a drum-
mer. They rehearsed together for a
few hours. One night they played for
the old man, who seemed pleased with
what he heard. They gave themselves
a name — "The Shades of Hades," ob-
viously so there should be no question
that the jazz they played was hellishly
hot. And that Saturday night, they
played their first dance.
"As I remember," E.G. says, "we each
got two dollars that night. And a few
scattered tips. And we had a grand
time ... I must have been quite some-
thing then — singing, squirming, smiling
away. I listen to rock 'n' roll now once
in a while, and I think. 'My gosh, that's
the same kind of stuff I used to do!'
. . . The Shades played together for a
few years after that. We stayed together
till 1933, when a Shakespearean reper-
tory company on its way South passed
through town, put out a call for an
actor . . . and I found myself joining
them.
"It was an adventure I wouldn't have
missed for anything," E.G. says. "Yes,
there were rough times in those early
days. Most of it financial, I guess you
could say. But perhaps the roughest
time of them all, looking back, was the
night I spent in jail. ... I was working
in Chicago then, with the Federal Rep-
ertory Theatre. I was to have an inter-
view with someone, to meet him in
Milwaukee. Well, I got to Milwaukee
early one evening. But this fellow wasn't
there. I'd just missed him. So I began
walking back to the railroad station
when these two cops came up from be-
hind me, tapped me on the shoulder
and told me to come along with them.
'Where?' I asked. 'To jail,' they said.
'Why?' I asked. They told me I was
under suspicion of robbery and as-
sault. Just like that. They'd say nothing
more. . . . The next morning I was to be
confronted with one of the victims, the
one who would or would not put the
finger on me — as they say. They brought
me into this room. This woman was sit-
ting there. Very nervous. Very agitated.
All I could think was, 'She's so excited
— who knows what she's going to say?'
I even thought, 'Suppose she says it
was me — then what?' But slowly the
woman looked up, and over toward
where I stood. She stared at me for a
few long moments, very hard. And then,
thank the Lord, she shook her head.
And she said, 'No — that's not the man.'
And I was set free."
But a night in jail here, a few
hungry days there, didn't stop the young
actor from following the career he had
decided by now was it-or-nothing.
After a few years in Chicago, E.G.
decided to try his luck in New York.
And after a few years there — in the
early '40s — at age thirty-one, he got his
big break by playing a seventy-year-old
adventurer in exactly seven minutes'
worth of a play called "Jason."
"Jason" wasn't too well received; but
Marshall was.
"Brilliant" — cheered the critics. (One
of them even wondered where the "old
man" had been all his life!) And from
that opening night on. E.G. Marshall —
who has since played youngish, old, me-
dium rare; what you want from a great
actor ; and how you want it — was on his
way.
Don't let's bother here with the cred-
its he has since racked up; we don't
have that much room. Enough to say
that, from that day to this, E.G. Mar-
shall has appeared in nearly 500 tele-
vision plays, two dozen movies, a dozen
or so Broadway plays.
Besides, this is a story about E.G.
Marshall the man.
And we want to get on to the heart of
the man.
For a good, nice, wise and softly-
humorous heart it is. . . .
He is a dedicated artist, yet at the
same time he's relaxed. If he is called
in front of the camera for a short take,
he will go, do what he has to do, return
and say, "Now, as I was telling you — "
And talking about a variety of sub-
jects, you get to know something about
the man.
He talked a little that day about
Robert Reed, the young actor who plays
his son, Kenneth Preston, on "The De-
fenders": "Bob is a very gentle person.
A real human being. He's very — I don't
want to say dedicated — but he has a
great deal of respect for the work he
must do and that we all must do . . .
Our relationship is the same off screen
as on. Except I never get angry with
him. He's a bright boy. Not self-serv-
ing. He doesn't complain. Very often
the writer doesn't give him enough to
do on the show — and so I suggest how
more lines can go his way. I guess it's
the kind of thing Lawrence Preston
might do for his son. I do it because
I like Bob Reed."
He talked about the subject of work :
"I will never say that I am overworked
because one, I love my work— and two,
there are too many memories, which I
guess all actors share, about the times
we couldn't get work. But there have
been times when I became tired, very
tired. I guess after the operation is
over and the wound is healed, you don't
think about it so much. Yet, there were
times. And it usually hit me around
the eyes— a little twitch right here — in
this eye. And I would find myself tak-
ing a little time off and going some-
where to relax for a couple of weeks.
Usually in the country."
He talked about his country house:
"It's up in Stratton, a tiny town in Ver-
mont. I call it the Nothing House —
because there's nothing square there,
nothing level. I was hiking with a friend
who lived nearby, one day, through the
woods, when we came across this old
shed. It caught my eye — the way it was
situated especially, in a pleasant vale,
surrounded by big maple trees. The
quiet pleased me, too; I didn't realize
it till that day, how much I missed the
natural setting. I'd been in so many
cities these past twenty years. You don't
know that your ears are constantly
bombarded with noise till you get away.
I guess I felt at that moment that I had
to have some wilderness again. Anyway,
I bought the old shed. And proceeded
to transform it into a house — added
rooms, a foundation. It was like putting
a shining gold crown on a rotten tooth.
We go there summers now. And for a
few weeks in the winter, when we can.
It's the happiest place in the world to
me and my family."
He talked about a tree that used
to stand not far from Nothing House:
"I don't know why I did it. But this
huge tree was in the way of something
I was planning. A marvelous tree —
about ninety years old. So I got some
guys to come and take it away. And
when they started with their saws, I
had to turn away. At one point I
thought, 'But this is a living thing, a
beautiful thing — it shouldn't be de-
stroyed.' I called out to the men to see
if they could stop. But it was too late."
He talked about friends: "A good
friendship to me is one in which some-
one knows your faults and forgets them.
I am moved by the purity of friendship
in people."
About family: "I prefer to say noth-
ing about my family life. It has always
been a policy of mine. Yes, I was mar-
ried when I was rather young and have
two fine daughters by that marriage. I
have since married again, very happily,
and have a fine son and daughter. My
definition of a good marriage? Not
something where each party gives fifty-
fifty, but where each gives one hundred
percent."
He talked a little about his social
life: "My favorite kind of evening is
for us to sit at home — or in the homes of
friends: Kevin McCarthy, his sister
Mary McCarthy, Zero Mostel — and
group-read from plays. Instead of cock-
tail parties, we have reading parties.
Instead of musicales, we have theatri-
cales. They're a big hit. And we have
an awful lot of fun together."
He talked a little about public re-
action to himself since the walloping
success of "The Defenders": "I walk
into a restaurant now and usually a
few people will look up and nod. Not
much more than that. Except, of course,
that we get a lot of mail. Quite a few
people write in asking advice on spe-
cific legal subjects: Bankruptcy, com-
pensation, negligence. I tell them to go
to a legal adviser — or to go see Perry
Mason."
Finally, he talked a little about his
initials: "Many people have asked me
what E.G. stands for. I never tell them.
Or else I say that E. is a name in it-
self and G. stands for gregarious. Or
I might say that I borrowed E. from
Lizabeth Scott, who didn't need it —
that's a gag I picked up from Joe E.
Lewis — and that E. stands for enigma.
But I never tell. And I don't intend that
I ever will. Why? Maybe because it
makes me a little bit different. Once, a
woman said to me that I was destined
to be different — like a red ear of corn.
And I guess that, at heart, I am just
that. A grown-up and contented red
ear of corn . . ." — Doug Brewer
"The Defenders" is seen on CBS-TV,
Sat., from 8:30 to 9:30 p.m. edt.
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73
EDDIE FISHER
iiififiiMiifiimiitiHiii'
(Continued from page 25)
manufacture any kind of story it wants
these days," he explained. "Who has
time to go around denying or trying to
answer every comment? If I really
started to straighten out the record, I
wouldn't have time to get my career go-
ing again. Oddly enough, in all these
years I've never kept a scrapbook. I
didn't even save the good write-ups. I
can understand it's the job of a reporter
or columnist to get a slant on a story
and write it, but they don't have to be
so heavy-handed about it. I'm not talk-
ing about my relationship with Eliza-
beth, but many of these people develop
an attitude toward something, and they
can create troubles where there aren't
any."
I took the bull by the horns and
asked him about the impending divorce.
It had been reported that he would be
the one to get it.
"It wasn't my idea to begin with. It
was Elizabeth's. Besides, I'm so busy
working that I haven't time. Since she's
the one who wants it, she'll have to be
the one to get it," he decreed with the
finality of a man who has had the last
word.
"After marriage to Elizabeth Taylor,
who's considered one of the most beau-
tiful girls in the world, wouldn't it be
difficult for anybody to follow in her
footsteps?" I asked.
"There are many different kinds of
beauty. I'd try it again, I guess, some-
where along the line," he answered
softly.
Eddie is handsomer today than he
was B.C. — Before "Cleopatra." His
few weeks in Palm Springs had tanned
him to a luggage brown. He's regained
the twenty pounds he lost. And he's
wearing exactly the same size suits he
sported back when Eddie Cantor heard
him singing for the Labor Day holi-
dayers at Grossinger's Hotel in the Cat-
skills and pushed him into the big-time.
That was 1949. Two movies, two chil-
dren, two glamorous wives and two life-
times ago.
Today, after what he smilingly ad-
mits was a "kind of temporary semi-
retirement," Eddie's back at work full
time.
I asked him if he hadn't known that
all this time he was sort of tossing away
his own redhot career? "I didn't have
a moment to think. There just seemed
to be many other things that were much
more important to me during these
years. It never entered my mind. Even
my agents knew how I felt and didn't
get in touch with me. I don't know . . .
I guess I just didn't care."
Whenever he's not actually perform-
ing these days, he's rehearsing. With the
same Svengali he had in the early days,
Milton Blackstone, he starts early in
the morning and, barring a little break
to sop up some sun, he goes straight
through until the night.
T Immediately after nudging J.F.K. off
v the front pages, he recorded six tunes.
R Two from Broadway's "Milk and
Honey" were made in Europe. As soon
74
as he landed back in his own backyard,
he recorded "Back in Your Own Back-
yard," which he likes "the best of any-
thing I ever made. But later on I know
I won't feel the same way." "The Sweet-
est Sound" from "No Strings" was next
followed by "Bravo Giovanni." The
sixth sold 400,000 copies already. "Just
so happens it happened to have been
'Arrivederci Roma,' " Eddie grinned.
"It wouldn't matter what I sang,
though. People would read something
into it. They're just waiting for some-
thing. You can't avoid a certain amount
of torch songs. Most really great num-
bers written down through the ages fit
that category. I'm planning on doing a
variety of tunes. Some will be torchy."
Although Eddie and Co. tried to
avoid tunes that have the double mean-
ings, this brought to mind a recent
benefit performance which prompted a
reviewer next day to foam at his type-
writer: "It was apparent Eddie was
PHOTOGRAPHERS' CREDITS
Gene Krupo by "Popsie"; Eddie Fisher
party pictures by Globe; Eddie Fisher
portrait on p. 25 by U.P.I. ; Connie
Stevens color by Gene Trindel of Topix;
Bob Horton color by Win Mu/drow;
E. G. Marshall by CBS; Vince Edwards
portrait by Marv Newton of Graphic
House; Sherry Nelson and Vince Ed-
wards by Gi'i/oon; Lennon Sisters by
Frank Bez; Hugh Downs, wife and
family by Jack Stager; Leslie Uggams
by Jack Stager; Fred MacMurray by
Phil Stern; Shelley Fabares and Lou
Adler by John Hamilton; "As the World
Turns" by CBS; Frank Sinatra color and
black-and-white by Pictorial Parade;
color pix of Raymond Burr and Barbara
Hale by Biff Kobrin.
singing not to the thousand who were
there, but to the one who wasn't. He
sang his heart out last night and every
song was seemingly directed as a mes-
sage of love. 'Any Time' brought a gasp
from the audience. T Need You Now'
caused an exchange of knowing glances.
Most obvious of all was his tenderly
touching 'Wish You Were Here,' which
never before carried the sweet, haunt-
ing tones that he instilled into this
rendition which was a lament of yes-
terday and a hope of tomorrow. In his
last threnody of love to his estranged
wife, Eddie sang 'You Gotta Have
Heart,' and it was plain he was wearing
it on his sleeve."
Eddie's wry comment: "These days,
anything I sing would be read into.
Even 'How Are Things in Glocca-
morra' ! "
Sitting on the edge of his chair, his
chin cupped in his hands, Eddie dis-
cussed his career. "Of course, it's too
early to tell how this will affect my
popularity. Tragedies always seem to
make people more important. I'm al-
ready booked into my hometown and
Vegas and Dean Martin pushed his en-
gagement back so I can play Tahoe.
"I've been offered several exciting
TV deals. I'm considering them all. I'm
very anxious to prove myself as a per-
former. But I'm a singer primarily. I
made two movies. Both of them bombed.
So, I'd have to consider acting offers
very carefully."
Speaking of acting, what was his
opinion of "Cleopatra"? "I've seen two
hours and forty-five minutes of it. It's
a true artistic achievement which will
be one of the greatest pictures of all
time. Elizabeth gives the greatest per-
formance of her life."
Rumored to have gone through cash
almost as fast as 20th Century-Fox, he
was asked about reports that he's broke.
He stared at his alligator shoes (rough
guess is $40 per foot) and answered,
"Well, I've leased a Beverly Hills home
and an apartment in New York. And.
as to whether or not I'm busted finan-
cially, all I can say is nobody is ever
going to have to run a benefit for me."
In the other room of his hotel suite
there were some ten or more aides-de-
camp, songwriters, TV producers, man-
agers and other humans of assorted
shapes, sizes and salaries. Two phones
were ringing constantly, and being an-
swered by the sergeants-at-arms.
Eddie Fisher is a young man who, at
an age when many other men are still
in hock to their in-laws, has already
been married to Debbie Reynolds and
Elizabeth Taylor, two of this planet's
most sought-after box office attractions.
He's entertained kings and queens and
presidents. His "Anytime," "I'm Walk-
ing Behind You," "Oh, My Papa" and
"I Need You Now" have sold over a
million records each. But he is no cocky,
arrogant kid whose off-hours are spent
munching caviar.
He is a pleasant, boyish gentleman
who amiably and honestly answers
questions from friends he doesn't figure
will gut him just for the sake of a
headline. Eddie is a soft-spoken, well-
mannered individual who shows re-
markable restraint and good grace in
this new international poker game
where a fellow called Richard Burton
is the pot.
Eddie absently twirled the green jade
circlet he wears on his pinky. It
matched the green paisley tie, belt and
handkerchief he wore. It's his "engage-
ment ring" given him by you-know-
who back you-know-when. He's worn it
"three years and eight months ... I
wear it all the time whether I'm in
green or not," he said. He had taken
off his wedding ring, however.
"I admit I've made a lot of mistakes
in my life. Sure, I'm human — like any-
body else. I have a temper. I blow. I
have an all-round disposition. But no
matter what was ever happening to me,
I always tried to be a gentleman
throughout it all.
"This whole thing has been like a
free-for-all," he continued. "I read all
the papers every day, so I've heard all
the reports and the rumors going
around. In the beginning every item,
every photograph or headline hurt.
Now I look at it like they're strangers.
Like it's no part of me."
Eddie puffed a borrowed cigarette
and sat down on the frilly tuxedo shirt
that was laid out for the evening. "And
about that press conference I held and
those padded-cell stories! When I ar-
rived in the United States, I decided to
go into the hospital for some rest. There
weir two people with me. One is a good,
long-time friend — a colonel in the Air
Force. The other was my personal
physician. Some stewed reporter barged
in, asked nobody for any quotes and
made up a highly exaggerated story, to
say the least, about two 'psychiatrists'
working me over behind locked doors.
I realized I had to show myself. So I
held that press conference just to show
I was sane. Very sane. The only shock
treatments I ever received were those
thrown at me by the press.
"And 99.9 percent of the reports of
my dating are all made up. I don't mean
I want to be left alone, but I don't do
a tenth of a percent. Those Natalie
Wood stories are right out of the blue.
And the Kim Novak thing is completely
manufactured. I don't understand
where they get their information."
Then, of course, there was another
attractive young lady in Hollywood
Eddie might have seen — Debbie Reyn-
olds. Had he seen his ex-wife, talked
with her?
"No. Just the nurse was there when I
visited the children in Palm Springs."
The children. What might their reac-
tion be to this complicated situation?
What had he told Carrie and Todd?
"Nothing. I will someday when they
reach a certain age. But they're too
young to know anything about it now.
It was wonderful to see them again
after eight months."
What did his mother have to say
when her "Sonny Boy" (his nickname)
came home dragging those newspaper
tales behind him?
"My dear mother's not well. She's
had heart trouble for years. But she
forgot all about her problems when I
needed her. All she was interested in
was her baby. My mother had no educa-
tion. And she had a very tough life. Yet
my mother's a very wise, wise woman.
I never really used to listen to her. She
was in New York when I came back.
She said many loving, kindly things.
Mothers are full of that. It sure was
nice to have a mom around when I
needed her. It's nice to have a mom
around all the time ... I think we
should learn to listen to our mothers."
And what's with his future?
"All I want to do is sing. I'm in great
voice. I'm dying to perform. Dying to
get in front of an audience again. I'll
sing anywhere." The lovable boyish
grin spread over his face. "In fact, if
you ask me, I'll do a half dozen numbers
for you right now.
"That's why I'm doing benefits all
over. Just one stray performance won't
put you back in shape. When I used to
be off a week I'd get stale. All this
while I never did exercises or scales . . .
boy, I really made it rough on myself!
Somehow, though, unhappiness didn't
affect my voice.
"I want to be in action. I want to
sing and work like I never have before.
I'll do some old songs, something new,
something borrowed and . . ." he
smiled . . . "something blue.
"All I want is a chance to sing my
little old heart out."
As he walked to the phone, which
was ringing again, he added, "And it is
old, too. . . . " — Cindy Adams
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75
milHtllrllllllllll
ROBERT HORTON
IIIIIIIIMIil.llilllN
iniitiiiiiiMiiiiiiNiiiiiiiiiiiiiiiiiritiii'
illiiiiiiiiihiiiniiiirii
(Continued from page 31)
with financial insecurity? . . . His wife
Marilynn's reaction, was, if anything,
a shade quicker than Bob's. She'd met
him in summer stock, two years ago,
when they co-starred and fell in love in
"Guys and Dolls." But it was one Bob
Horton who strode through "Guys and
Dolls" . . . savoring the excitement of
the musical theater, singing his heart
out every night on stage. It was quite
another Bob Marilynn had come to
know in Hollywood ... a man who
came dragging home each night . . .
Three years of his life, the executive
had said! That night, Bob came home
steeped in gloom. "The studio's breath-
ing down my neck," he told Marilynn.
"They want me for another three years,
after my regular contract expires ... it
means a million dollars . . ."
"I don't want you to do it," she said,
before he could finish. "You don't want
to and / don't want you to."
His face changed as though he were
hearing music. Bob's been a fighter all
his life — but now, for the first time,
someone believed in him ! "You have to
fight to live," she said, very simply —
because that was one of the reasons she
loved him.
The next day, Bob lowered the boom.
He was through with "Wagon Train" as
soon as the series stopped filming. NBC
offered him "The Virginian." He turned
his back. "I was in for some surprises,"
Bob tells me. "An actor is a commodity
to be bought and sold. I hadn't quite
realized . . ."
During the last weeks of shooting, he
was down with a virus infection. Mem-
bers of the crew called to see how he
was, sent cheer-up cards. Not one word
from the front office. A year before,
he'd injured an eye while filming with
plastic snow and everyone at the stu-
dio had been on the wire. . . .
At the very last, one executive said
bluntly, "Bob, come to your senses.
How can you turn your back on a mil-
lion bucks?"
"I had no difficulty turning my back
on that money," Bob says now, "as soon
as I stopped and realized it was all I'd
be getting for three years of my life.
I've been broke, sure, but it's not im-
possible to make money, and I've cer-
tainly found that money itself is no
panacea for your troubles. When you're
involved in something that no longer
stimulates you, you begin to slow down.
You're no longer using yourself, you
lose your identity.
"That's what was happening to me
with Flint McCullough. Flint's okay,
but I'd done as much with him as I
could — you might say I was paralyzed
to his stature. The fact is, TV builds
great star characters but it doesn't
build stars, and I've got to build.
"Actors aren't the only ones who
find themselves in a spot like the one
I'm in now. I tried a number of jobs
T before acting and, sooner or later,
v found myself bored with all of them.
r A man can start in any business, fight
his way up, enjoy himself thoroughly,
then find — a half dozen years later —
76
no challenge left. He has a choice. He
can conform, stay where he is, make a
good living and accept the loss of his
own self-respect. Or he can make a
break, start over again, find new chal-
lenges and fight for his life."
It's a battle for which Bob has been
building muscles since he was a kid
... a problem child, if you'd asked his
family ... a nonconformist . . . noth-
ing like his older brother, Creighton.
Young Howard (Bob was Meade How-
ard Horton Jr., but his dad was called
"Meade," so he was called "Howard")
did not do what he was told. "Not cross
the street? I ran away from home, the
first time, when I was four. Didn't get
very far — I was on a tricycle — but the
point remains that I was very interested
in what was going on around the cor-
ner.
"I kept on being interested. I ran
away at sixteen because I was fed up
with things in general — and again, at
seventeen. That time it was a car ac-
cident. I had my first car and I was
driving along and, suddenly, it was a
total mess and I wasn't about to go
home and hear the lectures. I just
couldn't face all that conversation. I
phoned home, told them where I was,
and by the time I came home, a week
later, they were glad to see me.
"My family thought me hard to
manage and maybe I was. There was
certainly a problem with a kidney
ailment that ended in an operation,
and an appendectomy . . . there was
certainly a problem with all sorts of
accidents. Here I was," Bob grins rue-
fully, "a strong all-American-looking
boy with red hair and freckles, and I
was always breaking something or get-
ting run over! But mainly the problem
was that my parents were strict . . .
were then and are now. They were very
rigidly brought up in the Mormon re-
ligion and they brought us up this way,
including no smoking and all that sort
of thing — which was not for me.
"My family are wonderful people,
but I didn't happen to want to be just
like them and I got pretty tired of
hearing what good grades my older
brother got in school and how he never
talked back.
The opening battle
"The first time I ever really partici-
pated in school was at Harvard Military
Academy, when I was a senior. Be-
cause of my kidney condition — and all
the accidents — I'd always been kept
away from sports. So now I decided I
was going to play football. My mother
and dad said I couldn't. But I played,
anyhow. The first day of practice, I
turned my wrist and, when I came home
that night, the family said, 'You see,
Howard, you see?' But I played that
whole season, played every quarter!"
That was his first victory.
Bob's second victory followed short-
ly after, when he suddenly decided he
was too hefty. Pictures had just been
taken for the school annual, Howard
took one look at his 205-pound image
and didn't like it. That was the seven-
teenth of January. There was a party
that night and he had a date — but that,
he decided, would be his last fling. He
cut out dates and parties, went on a
diet, increased his physical activity.
When school broke for Easter vacation
on March 27th, he'd lost twenty-seven
pounds! To Bob, this proved the power
of self-discipline. But he hadn't proved
anything to the rest of the world — yet.
He still wasn't interested in his stud-
ies. He didn't have the foggiest notion
what he wanted to do, though his broth-
er was already in medical school. Rebel
Horton, aged nineteen, joined the
Coast Guard. Unknown to his family,
he had got married, just a few months
before graduation, to a pretty teenager
from a nearby private school. They
were secretly married, the wedding was
secretly annulled — it all seemed pretty
romantic.
Fourteen months in the Coast Guard
were less romantic. They reactivated the
kidney problem and, after his discharge,
Howard drifted along as a member of
the 52-20 club. "Veterans were given
$20 a week for fifty-two weeks. I lived
on that, went to the beach, loafed
around. My family had a fit. And when
I suddenly decided to go to college, they
were afraid to believe it."
He had chosen the University of Mi-
ami. It was a good, long way from
home and the climate was advertised as
balmy. Also, on the side, a guy with
a torso like his could model bathing
suits and sportswear. The torso and
the red hair attracted the attention of
people who were producing a play.
The girl in the lead was red-haired and
they wanted a redhead to play her
brother. The minute he started re-
hearsals, Bob decided to fight for a
place in the theater.
In and out of Yale
Now that, for the first time, he had
a goal and was in a whirlwind hurry to
reach it, he really went to college with
a vengeance. He transferred from Mi-
ami to U.C.L.A., completed four years'
undergraduate work in three, graduated
with honors, jumped in his car — and
headed for Yale. There were exactly
five days between his graduation and
the close of registration at Yale. Though
he'd been told he couldn't possibly get
in Yale because he hadn't applied early
enough, fighter Horton made it — then
found that the classes he most wanted
were all filled. For five days, he at-
tended those classes available, decided
he was working for Yale, rather than
Yale for him, turned around — and sped
back to U.C.L.A.
That summer, he went East. He did
summer stock in Atlantic City, returned
to Broadway, played his first small part
on television, in "Suspense." The fol-
lowing week, he played a feature part
in the same show. The third week, he
was the star. Everything had worked
precisely as he'd planned it.
Now he was ready to come to Holly-
wood and make pictures. Every studio
was interested — and so was a "marvel-
ous girl, Mary," he recalls, "who, at
nineteen, was a bright young reader at
Columbia. The memories I have of her
are warm and dear. I was twenty-one
when we were married and, for a brief
while, we were happy. But things were
moving fast. I made two pictures and
was signed to a contract at MGM. With
my career going into full gear, I lost
her. . . . She couldn't be happy mov-
ing at this pace, and reluctantly I
agreed to a divorce."
Young Horton had planned to cause
a furor in Hollywood. He did. David
Selznick changed his first name to
Robert, and MGM's plans for him were
star plans. Bob drew rave notices as
the hero of "Apache War Smoke." To
make the triumph even lovelier, he and
Barbara Ruick had fallen in love while
making the picture, and married. It
was all strictly Cloud Nine.
Then, a couple of months later, it
was all over. MGM had run into hard
times, efficiency experts were called in
to supervise a re-tooling of effort, op-
tions were dropped right and left.
"I went from hot to cold so quickly,
it was as if I'd committed some wrong,"
Bob says. "When I'd married Barbara,
I was the hottest young fellow on the
lot. By the time we separated, I couldn't
get arrested. And I wasn't equipped for
it. I'd worked hard, the critics had
praised me, the public reaction had
been all I could ask. Then nothing. I
didn't know where my next dollar was
coming from, but I'd learned a few
things. You can't put your career in
other people's hands.
"You have to fight"
"I began going through the trial-and-
error bit . . . trying out for parts, not
getting them . . . getting parts, having
the pictures shelved. Sometime about
mid-1955, I began getting hold of my
career reins again and, since then, I've
made 98 and 44/100 of the decisions.
I ask advice, but I make the decisions
and I fight every inch of the way. You
have to. This is a competitive business.
"I think what touched me the most
when I left 'Wagon Train' was the
farewell from the crew. They've been
around for a long, long time and they
are pretty rugged. But we've had a
great time working together and it's
nice to know that we're friends. With
producers, you have no relationship,
you're a commodity."
This particular commodity will "sell
himself" — but only for a challenge.
Bob has the combination of singing and
acting talents that screams for musical
theater and he's been trying them out
in summer stock for several years. He
likes drama, he likes comedy — "an ac-
tor has to play all the strings of his
instrument." At this writing, he's off for
Chicago with Marilynn to do "The
Man" for six weeks at the Drury Lane,
then they'll play four weeks of "The
Pajama Game" together in Detroit —
where they fell in love — then Bob goes
into four weeks of "Oklahoma!"
"The most marvelous thing," Bob
says, "is to really enjoy your work and
to be really, deeply satisfied with your
wife." He sits on the arm of her couch
and they touch. "In this business, you're
thrown constantly with beautiful girls.
You're not blind, but, gradually, you
reach the point where you're no longer
impressed by what you see. You realize
the toll this business takes of women
... I'd never want Marilynn to be in it,
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77
even though this girl has a giant talent.
If she wanted to go on, she could make
the Metropolitan Opera."
Marilynn, a tiny girl with an excel-
lent figure and flashing, animated face,
speaks up quickly. "I gave up any
thought of a career when I married Bob.
I would divorce Bob tomorrow if I even
considered a career. I mean it. It
doesn't work. There are too many prob-
lems just concerned with one career . . .
singing together this summer — that's no
career, that's just fun."
When the contracts were being drawn
up, Bob told Marilynn to have them
drawn up with her name as Marilynn
Horton. She reminded him she'd have
to have everything changed — her Equity
card . . . why not just stick with the
old Marilynn Bradley? No, he said, he
wanted her to be Marilynn Horton.
Basically, this man has been fighting
all his life for more than just self-
expression, more than just a place in
the sun. He's been fighting essentially
for emotional security. Three quick
adolescent sort of marriages only indi-
cate one thing: A tremendous need to
love and be loved, a need to have some-
one of one's own.
"I'm very much a one-woman man,''
says the gentleman four-times-married.
"I never wanted to date a lot of girls.
I dated a girl and married her. But they
weren't really marriages. Marriage
means living with a woman, taking care
of her, taking responsibility for a
shared life. I wasn't ready for that. I
wasn't ready to take charge of my own
life, far less anyone else's."
Actually, Bob emerged from those
early marriages without any intention
of ever marrying again. He realized
perfectly well the reasons for marriage,
but he felt sure that the problems of
marriage were rooted in the contract
itself. "Any relationship from which
there's no escape," he said, "isn't as
good as one from which you can go at
any time."
So Bob was fighting marriage, too,
when he met Marilynn — "who is a
really wonderful girl, the loveliest thing
that has ever happened to me. A girl
who is with me all the time, who has
been with me all the time since the day
we met. She's my best friend, along
with everything else we are. We come
from such different backgrounds and
yet our values are the same. She's much
younger than I, yet she is marvelously
mature."
What of his other wives?
"No," Marilynn tells you, "I never
worried about Bob's having been mar-
ried before! You always think, 'I'm
the one who's going to change all this.'
Sometimes you do, sometimes you don't.
We're fortunate. We're amazingly alike.
We didn't have nearly as many adjust-
ments to make as some people. His ap-
proach to marriage appealed to me be-
cause, instead of being wildly romantic,
he was terribly analytical. I liked that.
I've been married once before and you
get to the point where you don't want
to get into something wildly romantic.
I believe in marrying and living to-
gether quietly."
They were married in Las Vegas on
New Year's Eve — which wasn't exactly
quiet — rode in the Rose Bowl parade,
next day, and almost immediately found
that marriage was changing them . . .
one of their worst dreads. Bob was the
one who noticed it acutely. "You've
changed," he'd say, "you're not the
same Marilynn." And he was right.
Two weeks after they were married,
Bob was the subject of "This Is Your
Life" — which meant that, for those first
two weeks, his poor bride was con-
stantly putting on an act, to keep him
from guessing the surprise!
Since then, of course, they've settled
down. Their best time of day has been
from 5:30 to 7:15 in the morning.
Marilynn makes breakfast, brings it
upstairs on a tray and they spend about
an hour and a half talking. They are
close, they are candid, they can start
the day totally reinforced. What in-
trigues Bob about Marilynn is that most
women he has known in this business
have become hard . . . they have to — or
be hurt. Realizing this, Marilynn says.
"To be able to be soft and not be hurt
is wonderful. Bob has made me feel so
secure."
What kind of a woman will stand by
her husband when he turns down a
million dollars? A woman who is very
young, very much in love, and who has
no fear — because she has faith. Mari-
lynn has been willing to give up a
career for emotional security. Now she
wants Bob to have security . . . and,
loving him, she knows there is no se-
curity for him unless his life is in his
own hands, fought for by his own
hands. — The End
"Wagon Train" is seen over NBC-TV.
Wed., from 7:30 to 8:30 p.m. edt.
JACKIE KENNEDY
(Continued from page 53)
You watch her every move. You pick
on anything you want. In short, you
twist little facts about her 'round and
'round until her own mother wouldn't
know whom you were talking about!"
Will she strike back? "No. Don't be
silly. As wife of the President, she can't
exactly stand on a soap box every time
someone says something about her, and
cry back, 'It's not true. Believe me,
it's not true.' Too undignified. And
besides, the First Lady of the land is
supposed to be above this. . . . Does
that put Jackie in a pretty helpless
position? That's her worry!"
And so the plotters plotted.
And waited.
They let Jacqueline Kennedy have
her little honeymoon. And then, when
the dark headlines began to hit — Indo-
China, the Stock Market slump, a few
others — they rubbed their hands. They
gloated. And they prepared to strike.
It pleased them mightily to know
that some people — millions, they hoped
— would listen to them, believe them.
It pleased them most to think that
Jacqueline Kennedy herself would be
J hurt by what they said. After all, this
was their mission — to hurt this young
and sensitive woman; to make her a
little nervous at first; then uncertain;
78
to bring a few tears to her eyes; then
to unnerve her completely; and, eventu-
ally, to destroy her.
Their reason for this? In the destruc-
tion of someone beloved by others, there
are those who find sick solace. It's that
simple.
And so, suddenly, when the time
came — sick and strong and determined
— they struck. . . .
They whispered, insidiously, glee-
fully: "She's bathed in conceit, you
know. A snob. Oh, yes, pure snob,
through and through. The warmth?
That's all surface, my dear. She doesn't
really like anybody like us slobs who
weren't born rich! Look at her back-
ground. And just look at her elegant
hairdos and clothes. And those parties
she's been throwing at the White House
— aren't they elegant, my dear? I mean,
fiddlers lining the hallway — and those
strange entertainers, those eggheads,
she's been inviting to perform."
They whispered: "She's some wife,
isn't she? Real cold, if you ask us. Oh,
sure — she holds her husband's hand
once in a while, in public, with photog-
raphers around. But why isn't she with
him more? His birthday party in New
York — remember? At Madison Square
Garden. With 18,000 people there. With
music and confetti. And entertainers
who flew in from all over the world.
But where was she, his wife, that night?
With him? Singing 'Happy Birthday'
along with the others? No. Oh, no. Not
her. She couldn't take the time!"
They whispered: "And a mother?
Hmmmph. Allowing those children to
be photographed all the time — just for
her own publicity. . . . And Caroline's
ponies, living at the White House. You
know who has to take care of those
ponies, don't you? The F.B.I. And you
know who pays the F.B.I., don't you?
We do."
They whispered: "What right did
she have to go running off to India
last spring? She's not the President.
Who wanted her over there — or her
sister, for that matter? What good did
they do there? And — do you know what
that little trip of theirs cost the tax-
payers of America? The Lord knows
what for transportation. And for movies
of the trip — forty-five thousand dollars,
at least."
They whispered: "Why doesn't she
leave the White House alone? All that
re-decorating and everything. It's not
her house. It's the nation's!"
They whispered : "She won an Emmy
on TV — though we can't tell why. Still,
winning something like that is an honor.
But did she have the common decency
to show up and accept her award?"
They whispered : "And she's supposed
to be a Catholic? I mean, did you see
those pictures of her going into church
without even a hat on, just wearing
some kind of tiny veil? And with no
stockings?"
They whispered : "See how she's mak-
ing us lose face throughout the world!
Why, in England the other day, a news-
paper came out bluntly and said that
they're glad their Queen isn't like our
Mrs. Kennedy. The Queen, the article
said, is shy, quiet, well-bred, unostenta-
tious. Our Mrs. Kennedy, they said —
'wearing those new short skirts cer-
tainly makes her knees no state secret ! '
Now, isn't that something nice for our
national prestige?"
They whispered on and on, all of it
concerning Jacqueline Kennedy, all of
it attacking her.
A shout to end the whispers
Jacqueline Kennedy could not talk
back to the plotters. But we think it's
high time somebody did.
It's not a hard job, either — to shame
these plotters. In fact, it's quite easy.
You just take the whispers — one by
one. You counter them with facts, real
facts — statements from the press, from
people who know Jacqueline, state-
ments by Jacqueline herself.
And you let the truth speak for itself.
She's a snob . . . conceited. Now
here's a lie, for sure. As a child, Jackie
— according to that best authority of
all, her mother — was a "shy, sweet,
rather self-effacing girl." As a teenager,
she lost some of her shyness but still
considered herself a rung or two below
her friends and her sister Lee in matters
intellectual, social, physical.
Shortly after turning twenty, she be-
gan to go to her mother's dressmaker.
Mrs. Mini Rhea — who has said this
about Jackie: "While working with her
one day, I commented on how lucky
she was to have a figure like a model
right out of a Parisian salon of haute
couture. But I was amazed to learn that
Jackie didn't think she was perfect or
ideal, and in fact was quite critical of
herself. She wished her feet were
smaller, her waist slimmer, her bust
larger, her legs straight and her face
more oval. I felt like spanking her.
Here she stood — the most beautiful girl
who had walked through my door — and
she was beset by small dissatisfactions.
'If I had your face and form, I think
I'd head for Hollywood,' I said. 'Or
home,' she said, laughing. 'I'm late.' "
It's a pretty well-established fact
that a conceited woman doesn't cotton
much to other beauties or want them
around her husband. But one day in
1955 — two years after her marriage to
Jack Kennedy and while he was re-
cuperating in a New York hospital fol-
lowing serious spinal surgery — Jackie
walked into his room and announced,
"Darling, I've just brought you the
most lovely-looking surprise in the
world." She turned toward the door
smiling . . . and, a moment later, Grace
Kelly sailed in!
She doesn't like us slobs who weren't
born rich. There's a former reporter on
the Washington Times-Herald who well
remembers the day, back in '52, when
Jackie began her job as Inquiring
Photographer. He'd heard about her
earlier that morning — about her back-
ground: The posh schools she'd at-
tended; the millions her family was
worth; the mansion called Merrywood,
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in nearby McLean, Virginia, where they
all lived. "I thought, 'Man, isn't this
going to be something, a gal like this
toting a camera and going out into the
street asking people questions?' I made
a bet she'd last no more than two weeks
on the job.
"I lost that bet, I'm glad to say.
Because Jackie worked with the paper
for eighteen long, hard months. And,
believe me, this was a girl who was as
democratic and natural and good-
hearted as they come. And as far as
her work went — she worked for her
$42.50 a week, went out into the street
every day with her camera and note-
book, interviewed truck drivers, counter-
men, executives, tourists, poor people,
big shots — and she was as nice with
one as with the other. Jackie a snob?
That'll be the day."
Clothes-horse— or monument?
Those clothes . . . those hairdos. . . .
The fact is that Jacqueline Kennedy
has always had a way with clothes, has
always believed in good grooming. The
fact is, too, that many of the same
women who are criticizing the Jackie
Look are the same women who are
somehow copying that look.
Actually, the hubbub about her ward-
robe and tastes began even before she
became First Lady. Wrote Martha
Weinman in The New York Times:
"When Jacqueline Kennedy, then five
days the wife of the Presidential candi-
date, stepped aboard the family yacht
in Hyannis Port, wearing an orange
pullover sweater, shocking-pink Capri
pants, and a bouffant hairdo that
gamboled merrily in the breeze, even
those newsmen present who could not
tell shocking pink from Windsor Rose
knew they were witnessing something
of possible political consequence."
Jackie herself is honestly confused
by the hubbub: "All this talk about
hairdos and clothes, about what I wear
and how I fix my hair, has me amused
and yet puzzles me. What does it all
have to do with my husband and the
Presidency?"
It's very probable that Jackie has
found her greatest comfort in this mat-
ter from two remarks that have been
made to her: One, by Mrs. Franklin D.
Roosevelt, who told her, "I often felt,
when / was First Lady, as if I were
dressing not myself but a national
monument."
The other, made by her husband, on
Inauguration night, when he stared at
her as she came down the White House
stairs, that first time, and said, "My
dear — you look so lovely."
Those parties . . . violinists lining the
hallway . . . eggheads performing! Let's
start with the so-called eggheads who
have been asked to perform at the
White House. The list happens to in-
clude the most brilliant examples of
our culture — men and women of whom
we should all be proud. To name
just a few: Pianist-composer-conductor
T Leonard Bernstein; cellist Pablo Ca-
sals ; dancer-choreographer Jerome Rob-
bins. Don't most of us, like Jackie,
figure it's about time we took these men
80
from the private halls or commercial
theaters — and spotlighted them before
the entire nation? The entire world?
Aren't most of us a little tired of having
America's artistic tastes and talents
downgraded in relation to other coun-
tries?
As for the White House parties them-
selves, a social arbiter wrote years ago:
"The sign of the truly good hostess is
the woman who does everything pos-
sible — and even adds that little touch
of the impossible — so that she may
please and delight her guests."
Had this woman been writing today,
she might well have gone on to say:
"Mrs. Kennedy's position as First Lady
is extremely difficult and challenging.
She must constantly entertain foreign
dignitaries who have entertained her
husband and herself — and show her
guests as good a time as she and her
husband were shown. Therefore, the
old-fashioned concept of serving hot
dogs to the King and Queen of England
is out — and the concept of social recip-
rocation is in. Thus, the violinists lin-
ing the hallways . . . the exquisitely-
prepared dinners ... all the extra little
elegant touches which show that the
host and hostess of the White House —
and through them, the people of Amer-
ica — care."
What makes a husband happy?
She's a cold wife. Those who know
Jackie — who really know her — vow that
she loves her husband intensely. "She
fell for him, hard, the moment she first
laid eyes on him," says one friend.
"She's somehow never quite gotten over
that first beautiful feeling of being
madly in love with him."
And listen to Jackie herself on the
subject of herself and her husband,
what she has said : "I think that a wife's
happiness comes in what will make
her husband happy. ... I don't see
myself as being a political partner to
Jack. I like to think of myself as having
an old-fashioned idea of what a wife
should do — make her home as pleasant
as possible, relax her husband and raise
her children. . . .
"I love it when, once in a while, I
have a chance to cook for him. When
a man is tired after a busy day, I think
he should at least be able to have a
substantial meal. And so I start with
a good homemade soup. Then a roast —
never overdone — and fresh vegetables
in season. Perhaps a potato or noodle
casserole — Jack loves these. . . .
"I love my husband with all my
heart. But I love him especially for
his quiet kindnesses."
About the matter of the President's
"birthday party" in New York, by the
way, the very basic facts are these:
It was not actually his birthday on
that date. The weekend in New York
was mostly political and the so-called
birthday gala represented only a small
part of that weekend.
She spoils those children. Aw, come
on, fellas. Let's face facts! It's hard
enough for any mother to keep a child
from being somewhat spoiled. And just
think how fantastically hard it must be
for Jackie Kennedy . . . with photog-
raphers constantly begging her for pic-
tures of the children (when she says
no, which is quite often, they use tele-
scopic lenses and get the pictures, any-
way) . . . with newshawks querying
her and the entire White House staff
about Caroline's latest doll and baby
John's newest words. And yet Jackie
has done a wonderful job of seeing
that her children are not spoiled, and
— she hopes — never will be.
To prove it, here's an interesting
quote from actress Lauren Bacall: "We
were having dinner with Mrs. Kennedy
one night, in New York, before she
went on to see my husband's play.
[Editor's Note: Jason Robards Jr. in
"A Thousand Clowns."] While we were
eating, Mrs. Kennedy disclosed this fact
— that Caroline had never seen a photo-
graph of herself in a newspaper or
magazine."
And a heart-felt quote by Jacqueline
Kennedy herself: "I feel that if you
bungle in raising your children, what-
ever else you do — no matter how well —
simply doesn't matter."
Those ponies . . . and the F.B.I. A
quickie answer should take care of this
of t- whispered complaint !
"Macaroni" and "Tex"— Caroline
Kennedy's pet ponies — do not live at
the White House but are only occa-
sionally brought there from the Ken-
nedy farm, Glen Ora, in Virginia. The
Secret Service men at the White House
have nothing to do with their care,
which is entrusted to head gardener
Robert Edmond and his staff — men wise
in the needs of ponies as well as pe-
tunias.
Innocence abroad
That trip to India. Regarding the
transportation costs for Jackie and her
sister Lee — both women bore those costs
themselves. Regarding the trip itself,
and its effect, Walter Winchell — one
of the President's severest critics —
summed this one up nicely. He quoted
a headline which read: "Congressman
Criticizes the High Cost of Filming Mrs.
Kennedy's India-Pakistani Tour." Then
he wrote: "The tour was an ordeal.
She did it to win friends for our coun-
try — which she did. She's a greater
friend- winner than all of Congress!"
Wrote another columnist, female this
time: "She went only because she was
invited by Prime Minister Nehru at a
White House dinner last November. I
was with her all that trip. She didn't
talk much about the President, the four
or five times we chatted. At first I
thought this rather strange, but then I
realized it was because she was so
lonely for him. Did you see those
photographs of her smiling face at the
airport when she returned and the Pres-
ident greeted her? Well, I was there
and let me tell you — photographs
couldn't begin to capture the happy and
relieved and I'11-never-do-it-without-you-
again feeling of that smile."
Why doesn't she leave the White
House alone? All that fancy fixing up
of hers! Technically-speaking, the First
Lady of the land is allowed — indeed,
encouraged — to make any change she
sees fit, provided she's given an okay
by the White House Fine Arts Commis-
sion. As for Jackie's "fancy fixing," all
she's trying to do is to make the Execu-
tive Mansion more gracious.
Washington correspondent Ruth
Montgomery wrote not long ago : "Jack-
ie's restoration project will assure her
a well-deserved niche in history. Future
First Ladies will be indebted to her for
a dramatic face-lifting not only of the
public rooms of the White House but
also of the family quarters.
"Jackie devotes much less time than
most of her predecessors to ladies'
luncheons, charity benefits and political
rallies. She made an early decision to
devote her time and energies to a few
main projects and not just lend her
name — and do nothing really — to many
different organizations. In addition to
her Fine Arts work, Jackie has under-
taken a number of projects for children.
She has already had two concerts and at
least two more are scheduled for this
year. She visited the Children's Hos-
pital in Washington and planned a
Christmas party for orphans, and an-
other party for staff children."
Why didn't she go to the Emmys and
accept her award? No doubt, she would
have been happy and proud to — be-
cause the show, "A Tour of the White
House," meant an awful lot to Jackie
and we're sure that the award did, too.
But — a White House social bulletin
for that same date reads: "Tonight the
President and Mrs. Kennedy have the
honor to entertain at dinner M. Felix
Houphouet-Boigny, President of the
Ivory Coast, and Mme. Houphouet-
Boigny. . . ." Enough said?
Her, a Catholic . . . going to church
with no hat . . . no stockings! The
latter complaint stems from Sunday-
morning masses Jackie has attended
while in Palm Beach, where the Presi-
dent and his family spend their winter
holidays. Now, it's perfectly true — the
Catholic Church does prefer that pa-
rishioners dress "properly" when going
to mass. But what is proper in Maine
is not necessarily the thing-to-be-done
in southern Florida. And isn't it a fact
that what is in one's heart is more im-
portant than what happens to be — or
not to be — on one's legs?
As for the no-hat issue : In most parts
of the world, Catholic women do wear
veils or shawls when in church. Most
of the female saints of the Catholic
Church wore such headgear — not hats!
Finally: She's making us lose face
all over. . . . In England, a fashion
commentator wrote: "We're glad our
Queen is not like Jackie, who shows
her knees!"
Here, we think the New York Daily
Mirror summed up the situation best —
against English critics, American plot-
ters, reputation-snipers around the
world — on this issue in particular,
though in fact on all other issues con-
cerning Mrs. John F. Kennedy. With
this punny and pungent little headline:
A HEM! WE LIKE OUR FIRST
LADY! —Ed DeBlasio
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SHELLEY FABARES
(Continued from page 49)
time at 1959's Deb Star Ball. "Surely
you remember that night," he says.
"I was Smokey's date." Smokey is my
sister. Well, all I remember about that
evening was being nervous — since I was
to be presented as a Deb Star.
I do remember that Roberta Shore,
who was responsible for setting up
dates for some of the girls, called me
to say she hadn't yet lined up a date
for Lou Adler and another fellow. I
already had a date, but since I knew
Smokey wanted to go, I suggested her.
At any rate, Lou said I was intro-
duced to him — again — at the Ball, but
I hardly knew my own name that night.
I have never forgotten, though, a
night in December of 1960 when I went
to a surprise party for Brenda Lee at
the Crescendo, a night spot in town.
Jimmy O'Neill, a local disc jockey
whom I'd been dating, called me to
ask me to go to the party — and he also
invited Smokey.
"She can go with Lou Adler if she'd
like," he said.
That night is one I'll always remem-
ber. Smokey and I came downstairs
at our house and there were Lou and
Jimmy waiting for us. Lou said to me,
"It's nice to meet you again." I looked
at him, wondering what he meant. But
I liked what I saw — a tall, handsome
young man with a warm smile.
At the party, Lou and I began to
talk, and the more I was with him
the more impressed I was. However, at
the time I was seeing Jimmy a good
deal, so there was no thought of any
dates for Lou and me. We were thrown
together, though, at other times after
this, mainly when Jan and Dean ap-
peared at local high schools where
Jimmy was acting as emcee. Lou was
always there, and gradually we became
good friends. Our friendship, born at
this time, was later to mean so much to
both of us.
After a while, Jimmy and I stopped
dating. He had met someone else. And
then, one evening, Lou called me.
"I didn't want to call while you were
going with Jimmy," he said, "but I
understand you're not seeing each other
now."
"That's right," I answered. I was
surprised to discover I felt so excited
— just because Lou was on the phone.
"We haven't gone together since my
birthday party a few weeks ago," I
told him.
"Well, I — I wondered if you and
Margie would like to go out to dinner
with me," he said.
Margie was my close girl friend,
and I had mentioned her to him. Still,
I wondered why he'd think of asking
her, too. But all I told him was that
I'd talk to her.
He called back the next day.
"Margie already has a date," I told
him, "but she said to say she was
sorry."
"How about your sister then?"
Now I was even more confused. Why
did we need a third party? Anyway.
as it turned out, Smokey had to cancel,
too, because of a previous date.
"I'm sorry, Lou, but Smokey can't
make it, either," I told him when he
called again. "If you'd rather, we can
make it for another night."
"No, let's not do that." There was
a pause. "Would you — would you like
to go with me then?" he asked finally.
"I'd love to!" I exclaimed — and I
meant it. I had begun to think he'd
never get around to asking me.
Later Lou explained why he had gone
around and around about asking for
the first date. He simply felt my parents
and I would like it better if he asked
someone to go with us. He had really
wanted to date only me in the first
place.
That first date! We went to the
Islander, my favorite restaurant, and
I felt like a queen the whole night.
Lou was such a gentleman! He helped
me out of the car, he helped me across
the street, he paid me every kind of
attention. I was so excited and nervous
I hardly knew what to say or do — at
least for the first few minutes. But once
we were in the restaurant, I felt as
though Lou and I had been dating for
months.
Lou was different from any other
boy I'd gone with. As I look back on
that date, I can only remember how
happy I was, how warm I felt inside.
Everything was perfect, from the soft
candlelight in the room, the tropical
setting, the divine food — I do love to
eat— and, of course, Lou.
Lou had more maturity than other
fellows I'd known. There was none of
the playboy about him. Sophisticated —
yes — but he didn't even drink. As the
evening went on, I began to feel much
more mature than my young years — and
a little worldly. Yet — also comfortably
young.
When our dates became more fre-
quent, Lou began to treat me with even
more consideration and kindness — and
he also began to call me by a few nick-
names, like "Little Girl," "Shell Shell"
and "Finko." That last may sound like
an odd one, but he knew I liked, for
some reason I don't even understand
myself, the word "fink."
It was on our second date that I did
an incredible thing. We were talking
about what mattered to us and I sud-,
denly began saying seriously how I felt
about marriage, having children, and
what I thought a wife should be. It
was only after I'd expressed myself so
fully that I came to with a start. I
thought to myself, "Shelley, what are
you doing talking like this to him!
He'll think you're trying to rush him
into marriage — and he'll make a fast
exit out the side door."
Very embarrassed, I said, "Oh, Lou,
I'm sorry."
"For what?" he asked.
"For talking like that. What must
you think of me?"
"Don't be silly, Shelley. I asked you
how you felt about things and you told
me. There's nothing wrong in that."
As I thought back about this later,
I realized I never could have spoken
as I did if I hadn't really felt close to
Lou.
We had a couple of dates after that
and then, on Valentine's Day, Lou
called me. He'd been calling every day
for the past couple of weeks.
"I know you're working and that
you can't go out for long, but could
you go on a treasure hunt with me to-
night?" he asked.
"Treasure hunt? What do you mean?"
"You'll see," was all he'd say.
Lou picked me up about seven-
thirty and took me to Schwab's Phar-
macy on the Strip, first.
"I have to pick up something," he
said. "I'll be right back."
In only a few minutes he returned
with a package all neatly wrapped. It
was obvious he'd ordered it ahead of
time. The first thing I saw was a beauti-
ful three-dimensional Valentine's Day
greeting. Then on the package was a
thin card which read, "To Shelley —
sweet as candy." It was attached to a
big box filled with candies from Hol-
land.
I thought this was the treasure hunt,
but he said he had another call to
make, so we drove up the Strip to a
florist shop. In a few minutes he came
back with a card reading: "Pretty as
a rose." It was tied onto a single long-
stemmed red rose.
Lou had somehow remembered my
telling him once about seeing Connie
Stevens with a date one night. She
had no corsage — she was simply carry-
ing a red rose. It was a beautiful thing
to see.
"We have one more place to go be-
fore I take you home," Lou said. "Jan
and Dean are being interviewed at Don
and Phil Everly's place and I have to
drop in. Okay?"
We drove up to the house and, as
he was getting out, Lou said, "Guess
I'd better lock the car." Then he
reached under the seat and pulled out
a huge picture. When I looked at it.
in complete surprise, I recognized it
as one by Walter Keane, an artist both
Lou and I had admired. He had remem-
bered how much I had liked a smaller
picture of Keane's that he had, so he
had sent to San Francisco to get this
one for me.
This was a Valentine's Day I'll cher-
ish forever. Everything Lou did seemed
to say, "I think of you all the time."
What my parents think
Lou has been very generous to me,
anyway — too much so, I think. Last
Christmas, he gave me a beautiful beige
cashmere sweater with a detachable
mink collar, and then on my birthday
this year he presented me with a match-
ing black sweater. He also gave me a
gold necklace with one pearl, and a
pearl ring. I haven't taken either of
them off since the day I got them.
My parents think Lou is as great as
I do. We see each other every night
now, and if I don't have dinner out
with him, he has dinner at our place.
We often spend an evening just sitting
around playing cards.
He has been as thoughtful of my
parents as of me. On their thirty-first
wedding anniversary, he sent to Italy
for a beautiful, carved-wood statue of
St. Anthony, my mother's favorite saint.
And each Mother's Day he gives her
a tremendous bouquet. Yet, there is
always one flower in the center with
a card reading: "For Shelley — Happy
Sunday." The flower is a red rose.
That's another thing about Lou — he
likes a family and he likes to do the
simple things. The "chi chi" night life
isn't for him. I can honestly say Lou
and I have never had any arguments or
differences. We discuss all kinds of
things together, we share opinions and
beliefs. In some ways, Lou has changed
me. I used to be very nervous and I'd
worry a lot. I also had quite a temper,
but now, because he's so calm, I'm
much calmer, too.
Lou is particularly understanding
about my work. He likes the fact that
I have a career, and he encourages me
to continue with it. Of course, I don't
know what I'll do about that in the
future.
Lou is constantly attentive to me.
In fact, he spoils me. Not long ago I
had mononucleosis and was in bed for
a month. He called me several times
a day and came by each night to see
me. Once he even had the Islander send
over a specially catered dinner for me.
The relationship between Lou and
me has grown steadily and beautifully
from a real friendship to something
more meaningful. I never said, "Lou,
we're going steady now." And he never
said, "You're going steady with me."
We simply have not dated anyone else.
Yet, we both knew we could if we
wanted to. We just haven't wanted to
be with anyone but each other.
So where do we go from here? All
I can say is that it is very serious with
us. We have talked about marriage,
but in more general terms. We some-
how don't think we have to put what
we feel inside into words. You see,
I've always felt a man and a woman
are put on earth to love each other,
to bring children into the world, to
love God. And to fulfill those obliga-
tions, you have to look at every side
of a situation. I think Lou and I have
been realistic about the future.
As for marriage — well, all I can say
is I never wanted to be a June bride.
I don't like hot weather. I like the
autumn better, the beautiful colors of
the season, the cold, nippy weather.
That is the ideal time, to me, to get
married.
Such is Lou's and my story. Some
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CONNIE STEVENS
(Continued from page 29)
not just a girl I've loved for four years
and would have married long ago, if my
career had orbited the way hers has.
She is a tower of strength as a friend.
She's fiercely loyal and dependable.
Not that she's all sugar candy, by any
means! She has a temper and isn't shy
about showing it. But in every case,
when it happens, you can bet she had
plenty of provocation."
To Kenny Miller, an old and trusted
friend: "She makes you feel warm,
amused, wanted. Before you realize
what you're doing, you are pouring out
your troubles and crying on her pretty
shoulder. As a result, she has many
men devoted to her. But there has never
been a scandal that could stick to Con-
nie. She's so forthright and decent, no
one would believe she could do any-
thing scandalous."
To an executive at her studio, she is
"both the most talented and most exas-
perating package we have. What other
girl, with everything to lose by a scan-
dal, would take off for Paris with Glenn
Ford for the premiere of 'The Four
Horsemen of the Apocalypse' and spend
fourteen days abroad, mostly in his
company?
"When we had her on the carpet, her
answer was so simple, so innocent, it
knocked all the suspicions and fears
out of our minds. T wanted to help
Glenn publicize his picture,' she said,
and then gave an irrepressible giggle.
'Anyway, Glenn's a perfect gentleman
and you can hardly find that kind any-
more.' If anyone else — say, Marilyn
Monroe or Liz Taylor — had done a
thing like that, the public would have
raised cain. All she has to do is open
those baby-blue eyes a little wider, and
her fans are ready to march out in bat-
talions to do battle for her."
That there are many whose feathers
she ruffled in her rise to fame — and
many whose feathers are being ruffled
right now in her struggle to stay on top
— cannot be denied. Their views, while
perhaps not openly expressed, may
easily be deduced. There is the pert
young starlet who appeared on the stu-
dio lot looking and acting like a new
edition of Connie Stevens. She had a
ponytail swinging behind her, and
spoke in the kittenish manner Connie
often adopts in her role of Cricket
Blake on "Hawaiian Eye."
The real Connie took one look at the
imitation, slapped down her script, and
marched off the set. Obviously, she was
under the impression that the studio
had trotted in the little "double image"
to scare her with the idea that she could
be replaced!
To Jack Warner and his son-in-law
Bill Orr, executive producer of all TV
shows on the lot, Connie has to be a
blister on the nose of contentment. For
more than a year, she campaigned vig-
orously — "battering their doors down
with her darling pink and white fists" is
the way one observer sardonically put
it — to land the coveted role of Liza
Doolittle in the upcoming multimillion-
dollar "My Fair Lady." In her usual
fashion, Connie was anything but coy
in making this desire known. "I want
that part like I've wanted nothing else
in my whole career," she told a friend.
But the studio awarded the part to
Audrey Hepburn.
The shock of this disappointment had
scarcely been absorbed by Connie when
she was informed that Anthony Eisley,
one of her co-stars in "Hawaiian Eye,"
had been dropped, and Troy Donahue
brought in to fill bis shoes. The studio
was a chaos of rumors, and there can
be no doubt that some of them found
their way to Connie's shell-pink ears.
Troy was there "to attract more teen-
agers to the show." It was also rumored
that Bob Conrad's part would be sub-
merged to give a larger splash to Troy.
Connie has been closely associated
with Eisley and Conrad and their wives
since the inception of the show. They
are fast friends, and Joan Conrad and
Judy Eisley are two of Connie's confi-
dants. Both families had just purchased
new homes and Connie became con-
cerned for her friends' futures.
About Connie's own relationship with
Troy there seems to be some sort of
ambivalence. Attraction and repulsion,
love and hate, are often entwined. At
one period, Connie dated Troy with
some regularity. But by the time they
completed making the feature "Susan
Slade" together, they were far from
friendly. Nowadays, both tend to play
down their "romantic" period by claim-
ing it was a studio-inspired publicity
gimmick. It's reported that when they
went to Hawaii recently, to shoot back-
grounds for the series, they spoke to
each other only when necessary.
"You learn a lot from love"
But the feud is now patched up. A
crew member insists it was Bob Conrad,
a man used to fighting his own battles,
who soothed the troubled waters by as-
suring Connie that he could handle any
rivalry with Troy. On her side, Connie
makes it clear that the response of
Eisley's fans protesting his departure
from the show is proof that her own ob-
jections were well founded. "If they
needed someone to pull the teen-age
viewers, would someone tell me what's
wrong with Bob Conrad and yours
truly?" she points out.
As for Troy, he's become very career-
conscious. He'd like fans to stop think-
ing of him as a fun-loving bachelor
about town. In particular, he'd like to
wipe out all memory of the headlines
created when his ex-fiancee, Lili Kar-
dell, accused him of slapping her
around. "I think I've changed in the
past year," he says soberly. "You learn
a lot from love— though the lessons are
often not easy to take. I'm trying hard,
these days, to get along with everyone —
especially the people I have to work
with."
That "have to" is telling. The truth—
those who have known Troy for years
insist — is that he really would rather
not do a TV series at all. He balked
about "SurfSide 6" but, in order to get
certain other conditions in his Warner
contract, he went along with the studio.
His assignment to "Hawaiian Eye,"
after the other series folded, didn't
elate him at all. But he's shrewd enough
to realize he isn't old enough yet to
carry a leading-man role in Hollywood's
current crop of films. So — he looks on
this as a transition period.
But Connie was not feeling in as
philosophical a mood as Troy. The news
of the changes in the TV series, coming
on the heels of her rebuff with regard to
"My Fair Lady," sprung the revolt that
was already, due to a number of smaller
irritants, on a hair-trigger. Connie went
on strike. Not only wouldn't she appear
for work at the studio, but she cut off
her telephone and — on the advice of her
lawyer — refused to talk to the press,
studio intermediaries or anyone who
had the slightest link to "the industry."
When she was upbraided by the front
office at Warners (some say the quote
came from Jack Warner himself) with
the admonition, "You can't eat your
cake and have it, too, Connie," she is
said to have snapped, "Yes, I can, if I
bake two cakes."
For the true significance of this re-
mark, one must go back to when Connie
and Gary Clarke were courting steadily
and quite seriously. She was upset by
Gary's stern refusal to marry her until
he had gained some success and could
support her properly without relying on
her income. "I don't believe in long en-
gagements," she said at the time. "They
lead to temptations, human nature be-
ing what it is." She was also being
badgered by the studio on several
scores. One day, she burst out angrily,
"Maybe the solution is for Gary and me
to get married and forget about Holly-
wood. He could go back to being a me-
chanic and I could get a job clerking.
I've done it before, you know."
Much as she loves show business and
the fun that goes with being desirable,
famous and a star, there is a stubborn
and inflexible streak in Connie that
might, if she doesn't find happiness in
her career, prompt her to throw up her
hands and give it all up. Being a movie,
TV and singing star is not the only cake
in her private kitchen. She is quite
capable, if pressed too hard, of whip-
ping up an entirely new batter and bak-
ing herself a new way of life. Just be-
fore this latest battle with Warners was
resolved, she said: "I've had offers to
write a column and be a disc jockey.
Happiness is more important to me
than stardom."
Which is the real Connie?
In the feminine complexity that is
Connie Stevens, there are many para-
doxes, many contradictions, many mys-
teries. She is stubborn, open-minded,
strong-willed, sentimental, jealous, in-
telligent, idealistic, practical, unconven-
tional, deeply religious (Catholic),
ruthless, generous, fun-loving, clean-
living, and so on and on and on. Who
can tell which of the Connie Stevenses
is the real, the true, the definitive one?
Probably the answer to the enigma will
someday be provided by the man she
marries and lives with on the intimate
terms of man and wife.
At the time of their break, two years
ago, Gary Clarke said: "Connie is mine
. . . whatever happens we'll get together
again." Current items in the gossip col-
umns would seem to be making that
prediction come to pass.
But Gary himself now denies the new
batch of rumors that has him taking
Connie out of Glenn Ford's arms and
straight to the altar. "We are seeing
each other again," he insists, "but not
at all as it was on the old basis. Now we
are just good friends."
What brought him back into Connie's
life, Gary says, was "The Virginian,"
the new TV series in which he has his
best acting job to date. The first person
he called, after signing the contract,
was Connie, "because I knew how
happy she'd be, how much of an inter-
est she has in my career, as she has in
the careers of all her friends," he
points out. Naturally, Connie wanted to
hear all the details — and in person. She
and Gary saw each other that night,
and have continued to do so.
"Gary and I discovered that we un-
derstand each other far better now than
we did when we were dating seriously,"
says Connie. "For one thing, we don't
take everything personally. We can dis-
cuss matters, criticize and help each
other in an objective way. We were
never able to do that before."
But, despite all denials, there are still
those who believe that Glenn Ford —
quite inadvertently — brought Gary back
into Connie's range. There had been
many stories about her assorted escorts
and alleged romances. Those who knew
Connie never really took them seriously,
until the question, "Is there definitely a
Ford in Connie's future?" got mass cir-
culation. Did Gary decide then it was
time he took positive action or lost the
girl he professed to love forever?
"Forever" is a big word, but there
has never been any doubt that Connie,
a Catholic and the child of a broken
home, looks on marriage and family life
as a permanent and unbreakable tie.
With Gary's career at last on firm
ground, there is now no excuse for them
to put off marriage and every induce-
ment to fulfill the demands of their
heart. But both say there is no wedding
in their future.
It would seem, at least at this writ-
ing, that absence has not made the
heart grow fonder for either Glenn or
Connie. Reports from France, where he
was working in "The Grand Duke and
Mr. Pimm," had Glenn once again ro-
mancing Hope Lange, his co-star in the
film. Another person close to him con-
fided that Glenn recently said he'd like
to give up his bachelor life and go back
to wife Eleanor Powell and son Peter.
Just as these rumors were circulat-
ing, news of Connie's new feud with
Warner Bros, reached France. Glenn,
who had previously given Connie both
professional and business advice, put in
a trans-Atlantic call to her. Perhaps he
called as a friend who wanted once
again to lend a strong shoulder of sup-
port. Connie's phone already discon-
nected, he didn't reach her. He left
word with her manager and at her
agent's office that he wanted to talk to
her. He called back, the following day,
to see if she'd received his messages
(she had). This would indicate that
Connie had decided against returning
his call. Was it because, with Glenn, it
was a case of "out of sight, out of
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mind" — or was it because Gary, her
"first real love," was back?
Mirror, mirror, on the wall . . .
Since there is no way of knowing, at
least today, the true nature of Connie
Stevens, there is no way of guessing
how this situation will be resolved. Will
she marry young Clarke or some older,
more sophisticated beau? Will she and
Troy Donahue discover that fighting
goes with love, too, and they could be
much more than a publicity-inspired
romance? Or is real and lasting love
yet to come — from someone else?
When asked why she hasn't married
yet, Connie gave a flip laugh and said,
"Because nobody has asked me." It is
one of the few fibs ever attributed to
this utterly frank girl. With her current
feud with the studio resolved, will the
"truce" last? Or will she rebel once
again and carry it to the ultimate limit,
refuse to act in films or TV again, and
either retire to the calm of homemak-
ing, or go forward to a new chal-
VINCENT EDWARDS
(Continued from page 37)
since she has such a vested interest in
the opposition?
"Oh, all the time," she answered.
"And I like Dr. Kildare, too . . . But
I love Dr. Casey."
As the interview drew to a close. I
came to a familiar conclusion about
Mrs. Zoino — when that lady talks about
her boy, her love for him just drips
from her voice. It's a kind of over-
whelming pride, too. And she makes
no effort to disguise it.
A few days passed, after I had spok-
en with Mrs. Zoino, when word reached
me that Vince Edwards had come to
New York after all, quite unexpectedly.
Checking further, I learned that Vince
was accompanied by Sherry Nelson.
Sherry, as all Vince Edwards aficionad-
os must know, is the secretary being
billed as the future Mrs. Edwards.
Not too surprised, I learned that
Vince and Sherry had taken proxi-
mitous suites in the Sherry-Nether-
lands Hotel. I proceeded to seek them
out, but Vince and Sherry could have
put Khrushchev to shame in the game
of erecting iron curtains.
They were literally and irrevocably
incommunicado.
Still, I did learn that Vince had
come to New York to attend the Emmy
Awards party here, even though ev-
eryone had expected he would be at
the Hollywood festivities. So, it was
quite a surprise to find Vince in New
York — and with Sherry along.
This must mean, I concluded, that
Vince's sudden change in plans would
undoubtedly bring him home to Brook-
lyn to visit his mother, whom he hadn't
seen in three years. That prompted
another quick call to Mrs. Zoino.
"Isn't it wonderful," she cried. "He's
here ! And he's coming over to see me."
"When?" I asked.
"He didn't say," Mrs. Zoino re-
lenge offered by beckoning Broadway?
Is there some secret yearning that
has long troubled the heart of this im-
pressionable and alluring woman-child,
some ambition never disclosed, some
will-o'-the-wisp she has mutely desired
to chase? Who can tell? It remains the
dark side of the moon, and nobody in
her little universe has been afforded a
glimpse of it. Perhaps Connie herself
isn't aware of the secret, buried long-
ings of her heart.
It may well be that plump little Con-
cetta Ingolia once did catch a glimpse
of the truth in that Coney Island hall of
mirrors. If so. the intuition has prob-
ably been all but forgotten. Perhaps
Connie, one of these fine days, may de-
cide to revisit Brooklyn's amusement
park. It is almost a certainty that, if she
does, she will seek out those mirrors
and repeat the question she put to her-
self so long ago: "Which of these reflec-
tions is really me?" — Kathleen Post
Connie is Cricket in "Hawaiian Eye,"
on ABC-TV. Wed.. 9 to 10 p.m. edt.
plied. "Maybe tomorrow, maybe the day
after."
I told Mrs. Zoino I'd call back in a
couple of days for the details.
The Emmy Awards came off and, as
luck — and the judges- — would have it.
Vince didn't walk off with any honors.
If you were watching the ceremony on
TV that night, you might have noticed
the disappointment on Vince's face.
He wasn't alone in his feelings. Mil-
lions of his fans felt disappointed, too.
Whatever disappointment Vince felt
after he was frozen out must have been
quickly thawed in the warm, cheery
glow of the family gathering that fol-
lowed the next night in Brooklyn.
"Wonderful, wonderful, wonderful."
Mrs. Zoino's voice bubbled when I
asked about the get-together that had
been so long and uncertain in coming.
"We were so happy to see each other
we couldn't find words," she went on.
"My goodness, I was so surprised how
young he looked. He didn't seem any
older than twenty-two or twenty-three.
Everyone who hadn't seen him for the
three years he was away said the same
thing."
I wanted to know how Mrs. Zoino re-
acted when she first laid eyes on her
son after all that time.
"The bell rang." she said. "I was ex-
pecting Vinnie. I went to the door with
my heart beating a mile a minute. I
opened it and — there he was. 'Hi, mom.'
he said with a big smile. He put out his
arms and I just rushed right into them.
He tightened them around me in a won-
derful bear hug. It was one of the hap-
piest moments in my life. My son had
come home again."
I asked Mrs. Zoino if Vince had come
alone.
"Goodness, no." she answered. "He
had a whole group of people with him."
"Was Sherry Nelson along?" I prod-
ded.
Mrs. Zoino hesitated, at first. With
the tact of a diplomat, she repeated.
"He had a lot of people with him . . ."
If Mrs. Zoino was reluctant to clis-
cuss Sherry, it might have been only the
good judgment of a mother who didn't
want to embarrass her son. She no
doubt had her suspicions, but she still
wasn't sure — at least not one-hundred-
percent — that he was prepared to march
down the aisle with this particular girl.
In one of our previous talks, I had
asked Mrs. Zoino if Vince ever dis-
cusses marriage, and her answer was,
"No, he never does — but I talk to him
about it. I tell him that he should get
married and have children, so I can
have more grandchildren. He's the only
one of my children who hasn't married.
But his answer is that he isn't ready for
it. He tells me that he wants to hit solid
rock bottom first before he takes the
big step, and that he wants his wife to
be lady of leisure."
At any rate, it was obvious that Mrs.
Zoino had rolled out the red carpet for
the homecoming, and that Sherry could
not have felt any less thrilled by the
welcome than if she were really and
truly a member of the family already.
For a full day, Mrs. Zoino raced
about frantically preparing for the oc-
casion. Everyone in the family pitched
in — Vince's sister, Mrs. Nancy Alba-
nese, and her husband; Vince's twin
brother, Bobby, and his wife, Pearl;
and their other brother, Joe, and his
wife. Not a detail was overlooked. Espe-
cially not in the line of food.
"What was on the menu?" I asked
Mrs. Zoino.
"You name it," she laughed. "We had
it."
There was proper indignation in Mrs.
Zoino's voice when I asked her if she
had cooked the meal herself.
"Well, of course I did," she replied.
"You don't think I'd let anyone else
step in when it comes to the food. After
all, one of the big reasons Vinnie came
was to get a taste of my home cooking ! "
Of course, Vinnie has been billed as
a food faddist who eats nothing but
organically grown foods — foods that
come from the earth without chemical
fertilizers. Even his mother couldn't
persuade Vince away from his special
diet when he lived at home. Mrs. Zoino
always had to yield during those years
by supplying her son with wheat germ,
black strap molasses, and the other spe-
cial dietary provisions called for on his
epicurean health kick.
This time was no exception, despite
Vince's three-year absence from the
family table. Mrs. Zoino hadn't forgot-
ten, and those specially-packaged or-
ganically grown foods were right there
and waiting when Vince sat down with
his family and friends at the overladen,
banquet-style dining-room table.
Far and away, it was a spread of
magnificent proportions. The antipasto
was fit for the most discriminating gour-
met. The spaghetti was cooked to per-
fection, and its sauce was simply
m-m-m-m. Chicken cacciatore is always
a delicious and delightful dish in the
better Italian restaurants, but the way
Mrs. Zoino prepared it was the epitome
of perfection, suited to a king's taste.
All this, in a large sense, added up
to a rather startling caloric intake for
the guests, particularly for one sculpted
with such precise symmetry and archi-
tectural balance as shapely Sherry.
Wasn't Mrs. Zoino afraid that her in-
ordinately generous portions would cre-
ate havoc with Sherry's waistline?
Truthfully, it didn't faze Mrs. Zoino
one iota. Like most mothers who have
been steeped in the traditions of an
Italian heritage, Mrs. Zoino believes
when a person sits down at the table,
it's for one purpose — to eat, and eat
well. In her eyes, a girl like Sherry is
probably so "skinny" that her present
mold is just a hint of something that is
yet to be. In other words, you might
say, this girl hasn't even begun to fill
out. So why should Mrs. Zoino have any
qualms about crowding Sherry's plate
with the inescapably fattening fare that
had been prepared for the feast?
From what we heard, Sherry threw
caution to the winds and, like the good
trouper that she is, elbowed her way
through yards and yards of spaghetti
steeped with that rich sauce, a gener-
ously large portion of chicken, and the
other delectable entrees — and enjoyed
it tremendously.
She later confided in Vince, we were
told, that she had never relished a home
cooked meal as much as she did his
mother's. Mrs. Zoino later heard this
from Vince and was elated by the com-
pliment.
Moreover, Mrs. Zoino was overjoyed
after the initial meeting with Sherry.
She found Sherry friendly, endearing,
sweet, and extremely likable. She had
all the fine and desirable qualities that
Mrs. Zoino has hoped for in a girl her
famous son might someday pick as his
bride.
The next night, another gathering was
staged in a similar gala setting.
Then the moment that Mrs. Zoino
dreaded finally arrived — the moment for
goodbye. It had been three years since
she had seen Vince, virtually a lifetime
to a mother as devoted to her son as
Mrs. Zoino is.
Despite all his assurances by phone
that he is well, it is difficult for a mother
to escape the anxiety, the restlessness,
and the uncertainty that somehow he is
hiding something from her; that, away
from her, her son is not as well as he
should be. And, above all else, Mrs.
Zoino is unalterably a mother who loves
her son deeply and intensely. Her con-
cern and worry for him are inescapable
so long as she is separated from Vince
by the painful stretch of miles between
New York and Hollywood.
There's no doubt, now that Vince has
returned to the movie capital, that Mrs.
Zoino has gone back to worrying about
him again. Yet in her heart, Mrs. Zoino
knows now, too, that she still has a son
who has not forgotten his mother. For
whatever the future holds, the immedi-
ate present shows that Vince, coming
home as he did, has cured his mother's
heartache. — George Carpozi Jr.
Vince is '"Ben Casey," as seen over
ABC-TV, Mon., 10 to 11 p.m. edt.
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(Continued from page 39)
be different, but they all have to co-
operate and act like a unit to get things
done!"
"That poor woman in the papers —
that's a sad case, and I know there are
many around," Bill Lennon commented,
one arm around his wife and his ex-
pression troubled. "But it's not the
rule, not in the United States."
Bill and Isabelle ("Sis") Lennon
have taught their children that their
own success in love and marriage was
built around their family. They do not
believe in separating their personal feel-
ings toward each other from their par-
ental attitude toward their children.
"We try to make our youngsters a
part of our love, and they get into the
habit of showing affection and consid-
eration to each other. Individualism is
great, when you go out to compete in
the world. But, inside the family circle,
there ought to be some kind of unity
and common purpose," Bill said. "This
doesn't mean that we expect or want
them to think and behave alike. It's
just that, in a family, you must learn to
think as one for the good of all when it
comes to family matters."
It was the eldest and only married
child, DeeDee, who recently explained:
"From the time we were old enough to
sing, and that's quite some time, we
were taught that raising a family and
having a happy marriage was like har-
monizing. When you sing in a group as
we did" — DeeDee is now a homemaker,
though her sisters Peggy, Kathy and
Janet still perform with the Welk show
— "it's necessary to adjust your own
voice to the others for the best effects.
In marriage, it's the same. The wife,
the husband and their children must
learn to fit their individual characters
and wishes to what's best for the group
as a whole. Just as some singing groups
break up because each one wants the
most to do or has a personal axe to
grind, a lot of marriages go to pieces
for the same reasons."
Sis believes, and often stresses the
point, that many people rush into mar-
riage nowadays because they think it's
got to be a ball from start to finish.
"The word love is tossed around as if
it added up to just romance," she
claims. It's her theory that too many
youngsters today "grew up in the fat
years, not knowing what it is to strug-
gle for bread and butter, let alone the
icing on the cake. As soon as marriage
begins to develop a problem or two and
stops being a ball, they call for the
divorce lawyers.
"Just for the record," she adds, "the
old days had plenty of problems, too,
but they were mostly concerned with
making a Kving, not whether or not
there was money enough for several TV
sets in the home."
When Bill and Sis got married, their
biggest headache (as with many people
during those years just prior to World
War II) was learning to get along, and
have a family, on their very small in-
come. Those "lean" days usually evoke
a chuckle from Bill. He recalls, with a
solemnity belied by the twinkle in his
eyes, that when he and Sis got engaged,
he found a job at Douglas Aircraft,
making all of $38 a week. "My brothers
and I had been trying to make a go of
it in show business as a quartet, but
we'd reached the point where we were
anxious to get married.
"Singing just couldn't earn enough
for that, not in those days. Also, it
meant traveling . . . being away from
our wives. At the time we got married.
Sis had the idea of working for a while
until we got our apartment furnished.
But then, when DeeDee was on the way.
we decided she should give up working.
We knew we'd have to make do with
the $38 a week, and we did."
"We felt then, and still do," Sis
smiled, "that a woman's job is that of
the homemaker and a man's the provid-
er and protector of the home. It may be
an old-fashioned idea but I'm convinced
that, in most marriages, this makes for
the most happiness."
"Actually," Bill pointed out, "when
things got real rough, Sis did work —
though not away from home. She made
tortillas and, after work, I'd take them
out and sell them. We're not against
married women working when there is
an honest-to-goodness need for the extra
money, or when she's a professional
woman — say, a doctor or nurse — who is
really needed by others. But we can't
see a married woman with children
holding a job just to buy a fancy car,
or keep up with the Joneses."
The Lennon girls seem to take the
same view, with DeeDee already prov-
ing how she feels. When she married
Dick Gass, she quit show business to
give her full time to her home. The girls
had been earning good money for sev-
eral years and DeeDee had a nice little
nest egg. She also received a lot of gifts
from fans and friends. But she didn't
have any impractical notions, even if
she did have it made, compared to many
other brides. She was proud and con-
tent to move into Dick's old home, the
house he'd purchased from his parents
when they had moved to a larger place.
Both DeeDee and Dick are happy on
what he earns working for the tele-
phone company.
"They budget accordingly." Kathy ex-
plained, "and, as a result, everything
they buy has a special meaning for
them. They enjoy each new item more
for having worked and saved for it. It's
been a real lesson for me. I'm certainly
going to try and be as wise when I get
married."
"Me, too," Peggy agreed. "But, you
know, money certainly isn't everything
in life. Do you remember 'the old days'
before we went on the Welk show? I
know that some of my happiest memo-
ries come from the little house we lived
in then."
In those days, the Lennons lived in an
old house which had only two bedrooms.
The boys shared one room, the girls
crowded into the other, and Bill and
Sis slept on a pull-out couch in the liv-
ing room. "Talk about togetherness,"
laughed Kathy. "We really had it!"
"Yes, but we were a real family,"
Janet put in, "ae much as we are now,
even though there were less of us. And
I'm sure that neither Mother nor Daddy
ever would have thought of leaving each
other. They had real togetherness."
"That's true," Sis said softly, "but
togetherness for its own sake is no an-
swer. You can chain two prisoners and
get togetherness, but who wants it?"
Not a jack-in-the-box!
"Of course," Peggy pointed out,
"there are people who think that, since
Catholics like us don't sanction divorce,
this is practically the same as chaining
two prisoners together and telling them
they must live out their lives that way.
The Church does allow separations
when it is best for the couple or their
children. And when it comes right down
to fact, I don't think there's any re-
ligion that doesn't frown on divorce.
After all, marriage is a sacrament, and
you shouldn't pop in and out of it like a
jack-in-the-box."
"I don't know the statistics on broken
marriages in the United States." said
Kathy, "but, judging from the newspa-
pers and magazines you read, it is
mighty high. And I've heard it said
often that divorce is the cause of much
of the juvenile delinquency and crime."
"And I've read, too, that the biggest
percentage of divorce is in mixed mar-
riages," Peggy added, "and in mar-
riages where there is no religion at all.
It must be very lonely and depressing
for any child who has no faith to turn
to. That's why I feel it's so important
to marry someone of your own religion.
That way, children don't become con-
fused by seeing their parents going to
different churches — or, worse yet, none
at all."
"Sis" Lennon herself went through
her early years without the serenity and
happiness that faith can bring. Her
mother was Catholic, her father a Pro-
testant. Sis was christened a Catholic,
but never practiced the religion as a
child. Her parents divorced when she
was very young. While the difference in
their religions was not the only cause of
their separation, it surely contributed.
One of the things that attracted Sis most
to Bill was his faith and the importance
of religion to his family. Even before
they decided to marry, Sis had made up
her mind to take instructions and be-
come a practicing Catholic. She was
determined her own children would
have a faith to give them peace of mind.
"You know," Kathy explained, "we've
been taught to live up to the teachings
of God the Father and the brotherhood
of man. But we — and I'm sure Peggy
and Janet agree on this, too — don't hold
with mixed marriages as a general prac-
tice. The average boy and girl, even if
they've grown up in the same neighbor-
hood, are still virtual strangers when
they go to live as man and wiie. The
first months of getting to know and ad-
just to each other — plus facing all the
problems of running a home and paying
the bills — must be a hard enough hur-
dle to pass. The difference in family
customs, upbringing, outlook, even a
little thing like the difference in style
of family joking — all this makes it hard
for two people when they are newly-
weds. Now, add a difference in religion
— not just in how they worship or the
kind of Bible and hymns they use, but
how they think about having children,
the meaning of marriage, and so on —
well, then the problem of adjustment
must be even bigger. Why ask for trou-
ble?"
"Yes. that's true,'* agreed Peggy. "If
boys and girls of the same religion date,
it's only natural that they'll fall in love
and get married. If they choose to do
this, as a kind of insurance for their
future families, it doesn't mean they
consider themselves superior or intoler-
ant to other faiths. Catholicism isn't
the only religion that discourages mixed
marriages. Judaism and many Protest-
ant sects also take the stand that, when
you marry in your own faith, you have
a better chance for a happy family life."
Bill nodded. "Too often, when the
house is divided on religion, the couple
retreat behind a wall of indifference.
Then there is no religion at all prac-
ticed in the home."
"Yes," said Janet, "then the children
must have a bad time because they grow
up without believing in anything. I
think religion is something the whole
family should take part in together."
Another strong "anti-mixed-marriage"
factor, the Lennons pointed out. is that
it can cause unhappiness and often
estrangement, if the families of the
young couple object.
Mixed marriage for the girls?
What if one of the Lennon children
fell in love with someone of another
faith?
"We would point out all the pitfalls,
all the difficulties of a mixed marriage,"
said both Bill and Sis. "But if they did
marry, we would do everything in our
power to get them off to a fine start."
"Well. I don't think it's likely to hap-
pen," said Peggy seriously. "I know
that Kathy, Janet and I always feel
especially good when Daddy and Moth-
er and the kids set out for mass togeth-
er. Getting so many children ready on
time is a struggle — but it's worth it. I
don't say that going to the same church
can hold a marriage together — but it
helps. And there's something about fac-
ing a religious wedding ceremony, no
matter what faith it is in, that makes
a couple realize the importance of the
vows they are taking. That means they
think about marriage a long time before
taking the step."
Since religion stresses family life, the
Lennon girls pointed out that a young
couple planning marriage are forced to
look ahead more realistically. DeeDee
and Dick discussed every facet of their
future before the wedding. They knew,
from their months of dating, that they
liked the same sports, household fur-
nishings, and friends. That they had
much in common was obvious. But they
also realized many things change after
marriage. That's why they talked over
honestly any fears or doubts. Too many
couples, DeeDee feels, are inclined to
take the attitude of "we'll solve that
problem when it comes," rather than
being prepared for it.
While the Lennon Sisters are aware
that building a happy marriage takes
effort, they've learned, from observing
their own parents, that the rewards are
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Dept. X-552, 913 Walnut St., Des Moines 2, Iowa
worth making every effort you can.
"Marriage should give a meaning and
purpose to your life," their mother has
often told them. "Love is the key that
opens the door. You begin by loving
each other. Then, if you are blessed
with children, you make them part of
that love."
Sis and Bill show no partiality among
their youngsters. Each of their eleven
children, from 22-year-old DeeDee down
to 2V2-year-old Christopher, feels that
he or she has a personal stake in the
family. They are not just a group of
brothers and sisters forced through cir-
ROBERT CONRAD
(Continued from page 57)
strictly business and I don't go for the
same reason I wouldn't go to his office
parties or I didn't go down to the
Chicago docks when he was working
there. I just don't feel it's where I
belong.
This year, since I've started studying
pre-law, I'm in school two out of three
times when one of these affairs is
scheduled. Law is something I've al-
ways wanted to study — my father and
a brother are attorneys — and now that
our daughters Joan and Nancy are
both in school all day I have the time.
But I needed encouragement to begin,
and Robert gave me lots of it! He still
does.
The only time I ever really partici-
pated in his "career" was in Chicago.
He was working at three jobs — a candy
factory in the afternoon, singing week-
ends at the Club Hollywood until two
in the morning, then getting up to
deliver milk by six. He had already
missed two mornings that winter, if
you missed three you were automati-
cally fired. So Robert insisted he had
to run the route. I was afraid if he
went by himself he'd fall asleep stand-
ing up, so I put on a pair of levis, a
warm jacket and pulled one of his caps
over my hair. There was no one I could
leave the children with so I bundled
them up and they sat up in the
front of the truck. Robert would drive
to a stop, catch a couple of winks, and
I'd run up to the door with the delivery.
I was scared to death. The company
had a very strict rule about not letting
anyone in the truck except the driver.
We had to hide from the other milk-
men — and the housewives.
You've probably noticed I call him
Robert. I can't call him Bob yet, it
just doesn't sound right to me. His
legal name is Conrad Robert Falk, but
we started using Conrad as a surname
when we were married so my parents
wouldn't find us. (More on that later.)
When he was growing up, he auto-
matically used his stepfather's names.
This has created such a mess that some
day we're going to gather up all our
papers and descend on some unsus-
pecting lawyer to straighten them out —
or maybe that's one of the things he's
saving for me.
We lived just about two miles from
each other in Chicago, practically on
cumstance to make the best of living
together. They have understanding, re-
spect and good will for one another.
More important, they know how to com-
municate what they feel.
As for the original questions TV
Radio Mirror brought up: Have mar-
riage and family life in America gone
bankrupt? ... If the Lennons are an
example of American family life, the
answer is a resounding no\
— Eunice Field
The girls sing on "The Lawrence Welk
Show," ABC-TV, Sat., 9 to 10 p.m. edt.
the same street, right on the lake. I
had seen him around. In the summer
you see a lot of people who have boats
at the lake. Finally I met him at a
party. My first impression was that he
laughed a lot, everything was a big
joke, yet he was quiet and well-man-
nered. I think I was more impressed by
his good manners than anything else. I
was wearing a red and white organdy
dress, and he had on a blue shirt and
dark blue slacks. It's funny, you do
remember things like that.
The party was in June, but it was
about six weeks before he asked me
for a date. By mid-August, we were
dating regularly and making plans to
be married when we were through col-
lege. I was a junior in high school then,
and we were going to come out here
and go to U.C.L.A. together after grad-
uation. That was our big dream.
But my parents had other ideas. They
had gone to Florida while I finished
the semester in a convent boarding
school. Then they decided, rather sud-
denly it seemed to me, to move me to
Florida, too. You weren't allowed to
call boys from the school, so when I
dialed Robert's number and, luckily,
he answered, I said, "Hello, Phyllis."
He said, "What?" and I told him I
was calling to say goodbye. I was all
packed and my grandfather was coming
at noon to pick me up.
He said, "You don't have to go to
Florida. You can always marry me,"
and I said "Okay!" real fast. So he
can't really say I proposed to him. I
just didn't waste any time when he
asked me.
We had a big send-off. When I saw
him drive up at the school, I just kind
of dashed away from some nuns I was
talking with, down four flights of stairs
and grabbed up my luggage I had al-
ready cached by the gate. Everybody
was running in two different directions
looking for me, and we drove off with
people in the yard calling after us.
We were the shock of the whole
North Shore. My parents, of course,
were horrified — we didn't tell them
where we were until the end of May
and I found I was pregnant. We figured
it was too late then for them to have it
annulled. They thought we were so
young to be getting married. We were,
too, except for one thing. At seventeen,
Robert was more ambitious and hard
working and ready for responsibility
than a lot of men are at thirty, or fifty
or a hundred !
At the time, he didn't have any
definite career in mind. He had been
interested in journalism, but in show
business, too. He didn't wait around
trying to find something he "liked." He
had me to look after now and he in-
tended to do it. He took a job as a
dock worker. It paid more than any
white-collar job he could have gotten
and they weren't too curious about his
age. When he told them he was twenty-
one, the minimum, they took his word
for it. As little experience as he had
had with life, he ended up being the
one in the gang all the other men talked
to about their problems. If they had
known they were talking to a seventeen-
year-old kid!
The first year, our money didn't go
very far. He'd cash his check after work
every Friday and bring home a dozen
or two dozen roses. We always planned
the things we were going to do together.
We still do. After a movie or going out
for dinner on Saturday and Sunday,
we'd count up what we had left on Mon-
day morning. He'd say, "I need this
much," and I'd say, "I need this much,"
and that would about do it.
He was delighted when we knew I
was pregnant. This was something he'd
always wanted, a family. His mother
and father were divorced before he was
two years old. We celebrated our first
family New Year in the hospital. Joanie
was born at 7:30 on New Year's Eve
itself.
Career investments
Meanwhile Robert took singing les-
sons and even dramatics from a pro-
fessor at Northwestern. He had a friend
with a band and started singing with
them at different clubs.
This was career, and the money he
made from it went right back into it.
One of his first major investments was
a tux. He was pretty proud of it. He
came home and modeled it for me.
Even then, he'd rather have not so
many clothes but things he really liked.
He's still that way. He likes to be com-
pletely informal or very dressed up.
Nothing in between. He has a tennis
jacket right now which he just adores
and wears everywhere. It's either all
or nothing. This is pretty much a com-
mentary on his whole outlook.
On Christmas Day of 1954, he was
laid off at the dock — just three months
before our second daughter, Nancy, was
born. Out of necessity, he became a
milkman.
All the time, of course, he was look-
ing for some way to get a start in his
career. He was very excited and happy
about meeting Nick Adams when Nick
came to Chicago for a personal appear-
ance. Actually, I think they spent only
one evening together, but Nick is the
sort of guy who knows whom he likes.
When Robert decided to make the big
jump to Hollywood, he felt at least he
had a toehold in knowing Nick.
It was a lot more than a toehold.
Nick's always remained a best friend.
He took Robert around to agents and
producers and finally practically
pushed him into "Hawaiian Eye." That
took a little time, though — a year and
a half, to be exact. Much of that time,
Robert wasn't working. Not even on a
milk truck. He applied for a route but
there weren't any openings.
Now that we look back, that year
Robert wasn't working was a marvelous
time. How many men have the oppor-
tunity to spend a year with their chil-
dren while they're growing up? I mean,
to get up with them and have lunch
with them and dinner every evening.
He taught them how to swim, how to
ride their bicycles and took them horse-
back riding. Even when he'd go on job
interviews, we'd all go just for the ride
and wait for him in the car.
We've always had as much fun with
the dreams as with the reality. Right
now our big dream is our house. We
hope to start building in a few weeks.
Once we're living in it, there will be
things that break down or need repairs.
But now, while it's still a dream, it's all
enjoyment.
Robert is happy and enthusiastic
all the time because he's doing work he
likes to do. I don't think being in the
spotlight has changed him at all. He
still does and says exactly what he
wishes; he's always been kind of an
individualist. He has enough confidence
in himself that he can do any job he
sets out to do.
He's interested in all the facets of
his business — writing, directing, every-
thing. One day he will be a director,
too.
I would like to buy him one of those
view finders a director uses to see the
scene as the camera will show it — as
a surprise. Except that I am terrible at
surprises. All last year he wanted a set
of gold cuff links with a star sapphire
he'd seen. I managed to get them in
September and hid them away for
Christmas. I kept my great secret
exactly two days. Then he was going
some place, and I couldn't stand it. I
handed them to him and said, "You
might as well have these now. when
you need them."
There's only one thing that worries
me about Robert. Being from a family
of lawyers, I like to see things in writ-
ing. His idea of a contract is a hand-
shake. He says this is his way and he's
built his whole life on handshakes. I've
had to settle for that, temporarily.
It's a little difficult to insist on this
point with Robert. He has as great a
belief in his friends and associates as
he has in himself. He is as enthusiastic
about their successes and their dreams
as he is about his own. Perhaps this
is why everybody confides in him.
I may not share the industry func-
tions with him, but he's fun to be with
— and I am with him as much as pos-
sible. There, I belong.
— as told to Marie Tinsley
Robert Conrad co-stars in "Hawaiian
Eye," on ABC-TV, Wed., 9 p.m. edt.
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IIIIIIIIIIIIM1IMIIIIIII
(Continued from page 55)
real life, families may become drawn
together for no other reason than that
they happen to live across the street
from each other. Or they may have just
one special interest in common — such
as bowling! Or perhaps the two bread-
winners work at similar jobs or for the
same company.
There are also times when families
form close ties for purely emotional
reasons. Not being the kind that makes
friends easily, they might cling to each
other out of sheer loneliness. And then
there are those who make friends in
order to fill their special neurotic needs.
A family in a lower economic bracket
might seek out a more well-to-do fam-
ily which enjoys higher social status.
This flatters their ego, gives them a
feeling of importance — and the other
family feeds their own ego on the re-
spect of their admiring friends!
To have really close ties, families
needn't dovetail together as completely
as the Hugheses and Cassens, but they
should have as much in common as
possible. Their backgrounds and chief
interests should be similar, and all
members of both families should get
along well together. If the wives are
close — but the husbands are not —
friendship can't truly blossom. The men,
in fact, may resent being forced to so-
cialize and may demand that the girls
break off their relationship.
The Hughes family is especially in-
teresting because there are four genera-
tions living together under one roof:
Grandpa Hughes, Chris and Nancy,
Bob and Lisa and their little boy.
Lisa often complains that her mother-
in-law interferes too much in her fam-
ily. She's been attending night school
and busily socializing in sorority ac-
tivities, and especially dislikes being
criticized for not spending enough time
with her child. Still, when Bob sug-
gests that they can afford to move into
an apartment of their own, now that
he's finished his internship, Lisa re-
fuses to move, knowing that here she
has a "built-in" baby-sitter.
Reconciled with her own husband,
Jeff, Penny no longer lives at home.
Neither does Don, who's a recent bride-
groom. But, even without them, it's a
very busy household and all members
are close and see each other regularly.
The Hughes family seems to be biting
off more than they can chew, in having
their son's family live with them. This
is pushing togetherness to the breaking
point — for it's a rare group of people
who can keep four generations happy
under one roof!
Lisa undoubtedly shrinks from taking
the giant step to womanhood because
she is too insecure to summon up the
necessary courage. The Hughes home
offers her more than a roof over her
head — or even a baby-sitter. The pres-
ence of a successful father-in-law, a
strong mother-in-law and a respected
oldster like Grandpa surrounds her
with the emotional support she craves
so she can remain the child that she
obviously is.
This puts Nancy in a difficult posi-
tion and forces her to play two roles.
She is, in fact, grandmother to Lisa's
small son but she is, in deed, also his
mother, since she tends to him so much.
Like so many real-life women in her
position, her unconscious may play
tricks with her mind, in this respect.
She may find it necessary to criticize
Lisa, the real mother, because she un-
consciously is competing with her!
In situations like this, the suspicion
arises that women like Nancy are ex-
tremely possessive and, in their heart
of hearts, do not really want to let any
part of their family go.
The lost child
The Cassen family structure is quite
different. Dr. Doug Cassen and his wife
Claire, who was married previously,
have had many stormy moments. Claire
has wanted to leave Doug, and at one
time became so emotionally and physi-
cally ill that she attempted suicide. In
spite of this, Doug stood by her.
Also living in the Cassen home is her
first husband's father, Judge Lowell,
who is greatly respected by Doug. And
there is her daughter Ellen — who, some
years ago, gave birth out of wedlock
and put the child out for adoption.
Ellen has learned the identity of the
adoptive parents and is now intent on
regaining her child — especially because
the adoptive mother has since died, and
she herself is engaged to marry.
The breadwinner of the Cassen fam-
ily has had plenty to contend with! A
busy doctor, Doug was denounced by
Judge Lowell for being so absorbed in
his work that he neglected his wife —
helping to drive her into another man's
arms and to bring on her severe mental
state. Doug took the tongue-lashing,
offered to make amends by giving Claire
a divorce, if she insisted. But she in-
terpreted this to mean that he is in
love with another woman. Meanwhile,
she has rejected psychiatric help.
The Cassens are a good example of
the kind of family that clings together
— not in spite of — but because of their
emotional problems. They seem to
thrive on hurting and being hurt. It
may seem strange, but this sort of
high-pitched behavior is what keeps
them all together. Such families are
far from unique; you see them every-
where. In this case, Judge Lowell
seems to be a powerful father-figure
to all the Cassens — perhaps symboliz-
ing the strong, stable parent they
wished for but never really had.
Claire would certainly benefit more
from psychiatric treatment than from a
divorce! At this point, it's impossible
to state why she attempted suicide. Was
she so oppressed by her immediate
problem that she saw no other way out?
Was she trying to "punish" her hus-
band? Or was it something that had
been building up for many years, wait-
ing only for the right opportunity?
Only intense psychiatric examination
can tell.
The over-busy husband who neglects
his family may be forced to work so
long and hard in order to support them
adequately. Or he may bury himself in
his work, just to get away from them!
In the latter case, if his wife should
decide to walk out on him, he may not
care — except for the hurt to his ego.
As for Ellen — or any of today's le-
gion of unwed mothers — one can only
speculate why she wants back the child
she once gave up. The usual reason is
guilt. Ellen may feel, now that her
child is motherless, he needs her. But
that could be merely a rationalization
of her "guilt" feelings. It may be she
who needs the child.
In both families, there are times
when trickery and subterfuge are re-
sorted to. In the Hughes home, when
Penny's estranged husband sent her a
letter, her mother withheld it from her
— and when Jeff tried to see Penny to
effect a reconciliation, Nancy went out
of her way to prevent their meeting.
And young Dr. Bob almost ruined a
patient's marriage by concealing the
performance of a hysterectomy from her
fiance — until after the operation.
In the Cassen family, Ellen avoided
telling the man she hopes to marry
about having had a baby out of wedlock
— despite the fact that the child had
been adopted by someone in the same
community. She only divulged her story
after learning that the adoptive mother
had died and she felt she had a better
claim to regaining her child.
Even Judge Lowell — when Doug was
being sued for malpractice — cooked up
a fictitious story, to prevent word get-
ting around about Claire's suicide at-
tempt. That was the real reason why
Doug hadn't been able to attend the
unfortunate patient who died. And, of
course, the truth eventually came out.
But they meant well
Sooner or later, the truth always
comes out, no matter how cleverly we
try to hide it. Most of us know this
and, when we disregard it, live in miser-
able anxiety under the ever-present
threat of being found out someday.
Aside from any moral issues, duplicity
must be condemned because of the tre-
mendous burden of guilt it places on
FRED MacMURRAY
(Continued from page 47)
In short order, she was playing and
singing on the Juvenile Theater over
Station WHBF. This is a girl who
never had a teen-age life and that's
probably one reason why she values a
woman's life so much. . . .Two years
ago, I got her to work one deal. I was
on a "Lucy" show and the gag was
that I'd lost my allowance and had to
call home a couple of times to explain
my plight. Desi suggested it would be
great to get June to come in and ap-
pear in the final scene, and she finally
did come in — one day. But it meant
getting up terribly early, leaving the
house before the children were awake,
getting home after they'd gone to bed.
"I just wouldn't ever do it again," she
said. "Never!" And I think she means
never. She's found the way of life that's
for her, she enjoys the children, she is
the one who practices it. And parents
who play lightly with the truth will
find that their children follow in their
footsteps and make deceit a part of
their character, too.
Of course, we always mean well when
we tell a little white lie. But sometimes
we take liberties we aren't entitled to.
When Penny's mother tried to prevent
her daughter's reconcilation, she was
making a decision which was not hers
to make. Bob did likewise, when he de-
cided for his patient. But they meant
well.
Ellen wasn't honest with her fiance
for fear she'd lose him. But that's
no way to start a marriage. And Judge
Lowell allowed his personal feelings
to interfere with justice — actually
jeopardizing Doug's defense by falsi-
fying the facts.
The Hugheses and the Cassens are
protective of their own and of each
other. Whatever one family might lack,
the other seems ready to supply—
whether it be emotional stability or
professional guidance. They truly sup-
port each other and it shouldn't be
at all surprising if they get on well to-
gether.
Families often become too insepa-
rable and begin to get on each other's
nerves. You've seen this happen when
two close groups take a lengthy vaca-
tion together. In constant company with
one another, they start interpreting
every friendly gesture as an intrusion on
their privacy. But the Hugheses and
Cassens manage to retain their privacy
without loss of their friendship. They're
held together by common interests, mu-
tual concern — and just enough differ-
ences in temperament to make them
need each other!
Next month, we'll apply our psycho-
logical yardstick to another of your
favorite daytime dramas and deal with
another important aspect of human re-
lations, hoping to make their problems
meaningful in your own life. — The End
"As the World Turns" is seen over
CBS-TV, M-F, 1:30 to 2 p.m. edt.
happy, so am I. Actually, this way,
when I come home from the studio with
my problems, she understands them,
but we're lucky enough not to have two
sets of those problems. And, inciden-
tally, she's very much the same June
I fell in love with, a girl bubbling with
vitality, very real, very curious and
eager about life. She never was focused
on herself, as many actors are. She was
always concerned about other people,
the world, everything. The only change :
Her hair is brown and it's very attrac-
tive — I like it even better than the
blonde and I guess she senses that.
Sometimes she says she feels like being
a blonde again, but she hasn't changed
it.
A lot of our way of life is thanks to
her. It isn't easy to walk into a family
with a ten-year-old son and a fourteen-
year-old daughter — and that, of course,
is what she did. That first year was
pretty rough. Kids the age of Rob and
Sue aren't about to listen. Not to any-
one. They're absolutely positive no one
lipue Experience
• FOR •
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WOMAN
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understands them, especially parents. A
radical change like this is hard for chil-
dren, suddenly having a new mother
and a new home.
But June was a mother . . . from the
beginning. Sue and Rob eventually
couldn't resist that. They found they
could rely on her in a pinch. I don't
think I have to explain about teen-age
kids and what you go through. But an
amazing thing happens: Suddenly they
come out of it. Our Sue never picked up
her room in her life, you never saw such
a mess. She couldn't cook, she wasn't
interested in cooking, she was the least
domestic teenager in America. Now she
runs a spic and span household of her
own, cooks up a storm, is an excellent
wife and is great with her two kids,
Freddie, two, and Stevie, five months.
And Rob is a freshman at the Univer-
sity of San Francisco and is interested
in psychiatry.
I'd always looked forward to the time
when they would be over the hurdles
and then I'd have a chance to travel
with June and do all the things I'd
never done. I was sure June understood
all that. Then one night after we'd been
married about three years, I found my-
self at a party totally surrounded by
doctors. The party was at a doctor's
house. Dr. Prucher, the O.B. man I play
golf with, was there . . . now that I
think of it, almost every man in the
room was an O.B. man. Of course, June
has always done a lot of work at St.
John's Hospital, working with the sis-
ters, helping with the paraplegics, so
we know some doctors. . . . This night
Dr. Prucher cornered me.
"We have a wonderful baby coming
up soon for adoption," he said.
I shrugged that off. "June under-
stands how I feel about this. Thanks,
anyway."
"I understand," he said.
Fadeout. A few weeks later, I was
playing golf and, when I came in to the
clubhouse, there was a message to
phone Dr. Prucher.
"Sit down," he said.
"What's happened?"
"The baby's here."
"Boy or girl?" I asked automatically.
"Girl . . . two of them, as a matter of
fact."
June, of course, was in a state of rap-
ture. Six weeks later, we got them out
of the incubator and brought them
home, and they are dolls, real dolls.
How could I possibly imagine life with-
out them?
As for the traveling. . . . When they
were two years old, we took our long-
awaited trip to Europe — and stayed ten
days. I couldn't wait to get home. The
next trip to Europe was this year, for
"Bon Voyage," and the four of us had a
ball. In Paris, we hired a nurse because
I was working and we didn't want to
disrupt their schedule with late dinners,
etc. But the nurse deal didn't work out.
So, from there on, we were on our own,
as we've always been.
Really a saxophone player
When I'm working, I work hard, but
when I go home, I'm not an actor. I've
never considered myself an actor, never
thought of myself that way. Maybe be-
cause I started as a saxophone player,
maybe because I never had any acting
ambitions and it was just something
that happened. ... I happened to be in
the right place at the right time and,
without doing a thing about it, was
hauled out to Hollywood and, in six
months, I was a star. I didn't even know
that a star was supposed to make some-
thing more than $250 a week until I be-
gan looking around at the way the stars
lived.
Carole Lombard was the one who put
me wise. We were making a picture and
she suggested I go to Palm Springs for
a few days.
"But we have to work tomorrow," I
said.
"Listen, Buster," Carole said, "go to
Palm Springs."
I went. I got a raise. It's lucky I
wasn't canned.
But, as I say, I just never felt like an
actor. An actor, to me, is someone like
Brando or Guinness who can step into
different roles and be different. I'm a
guy doing a job. At home I'm some-
thing else again, a sort of a Mr. Fix-It,
always have been, always had a work-
shop in the house and carpenter's tools,
and I'm always tinkering around with
light sockets or plumbing. As a matter
of fact, when Sue and Rob were small,
they thought I was a carpenter — that's
what they always saw me doing. It was
kind of a shock when they found out I
was an actor. Times have changed and
kids' sophistication has changed. The
twins see "My Three Sons," watch TV
and are pretty hep.
Sometimes my tinkering turns out
fine, but I've been known to have duds.
There was the day I took the toaster
apart and finally had to pile it all in a
bag and take it in to the shop. And
there was the day the tub was leaking
in June's bath and I couldn't at first
figure out how to get in the needed
washer — faucets and spout come out of
a marble slab. I waited until the
plumber was there, fixing our water
heater and asked him how to go about
it. He said the marble would have to
come off but he wasn't about to do it —
he was afraid of cracking the slab.
I got the marble off with a hacksaw
blade, unscrewed spout and handle, put
in the washer and got it all back to-
gether. I was feeling pretty pleased
with myself, too.
We were having lunch when our girl
rushed in, her face absolutely white.
"Come look at the living room," she
said. We dashed to the living room and
there was hot water pouring through
the ceiling and all over the paneled
walls.
"What did you do?" the plumber
yelled at me.
"What did you do?" I yelled at the
plumber.
Well, what we'd done was this: The
water had been turned off while I was
tinkering, he'd turned it off because of
the work he was doing on the water
heater. I'd left a faucet open, not know-
ing. Then he'd turned the water back
on. This is what can happen.
Of course what looked like a- catas-
trophe that day is child's play now.
Ours was one of the houses in the re-
cent fire, and we were only too happy
I
to flood it with water to save what we
could of it. We were lucky. Many peo-
ple lost everything. We didn't lose too
many things that couldn't be replaced.
You know, everyone should make a
list of things they should do. things they
would want to save. Then, if disaster
should strike, grab the list ! I did pretty
well — to a point. I ran in the house and
packed a suitcase with pictures, movies
and photographs of the children which
were irreplaceable. Then I went out
and got on the roof and left the suitcase
in the house! If it had burned to the
ground, they would be gone. So, make a
list. Have we made ours yet? Well, no.
not yet, but everyone should!
We're living in a rented house while
our home is being rebuilt. June is hav-
ing a ball picking wallpapers and fab-
rics, because the whole place has to be
redone. It will be finished soon and it
will be nice to get back home again.
Recipe for happiness
When I finished work on "My Three
Sons" for the season, I had some time
off. I went steelhead-fishing for a few
days in Northern California, and then
June's aunt and uncle stayed with the
twins and June flew up and met me at
Monterey, where I played in the Crosby
Golf Tournament. It was pretty wild ! It
snowed. My golf isn't too great in good
weather, but it was fun. I played with
Jimmy E. Thompson, and his wife and
June walked around with us. At night.
LESLIE UGGAMS
(Continued from page 45)
Cotton Club, resolved ten years ago that
her youngest daughter was to be a
dancer, and taught little Leslie many of
the tap routines she had known at the
club. With these routines "down pat,"
Mrs. Uggams watched for notices of
auditions for kiddie talent shows, and
took Leslie to as many of them as she
could manage. Leslie landed featured
spots on the shows here and there,
and very often won prizes.
"Those were pretty tough days," says
Leslie's father now, "but we pulled
through all right. I had sung with the
Hall-Johnson Choir, but my voice gave
out as I grew older, and I got a job
as elevator operator in a Park Avenue
apartment house — a job I still have,
by the way. It was always a thrill to me
when Leslie appeared in some show or
another, at school, at our local movie on
Saturday, or wherever."
In fact, Leslie's whole family was,
at one time or another, involved with
with show business. Her aunt Eloise has
appeared in several of the Broadway
revivals of "Porgy and Bess," even now
sings in her church choir. Leslie had
sung ever since she was a little girl in
the junior chorus at St. James Presby-
terian Church. But under her mother's
urging, dancing had long been her
greatest interest.
Once, Mrs. Uggams took little Leslie
to an audition for the "Milton Berle
Show." To her delight and amazement,
there'd always be get-togethers. One
night, it was at the Hatlos. I had my
sax in the car and Phil Harris and a
couple of others joined in and we had
a jam session. June knows all the songs.
She sang and it was quite an evening,
all told.
We like this sort of thing. When we
go up to Black Lake, fishing in Colo-
rado, I always take my sax along, too.
Last year, Freddie Karger and Jane
Wyman were with us and every night
Freddie and I would go to work. Every-
body sang, it was great. We like the
outdoors, we love going up to the ranch.
When we were up there, last Thanks-
giving, it rained most of the time. But
we loved it ! We built fires, walked, took
jeep rides, had a look at our herd of
Black Angus cattle, had friends in to
dinner. That's how we live.
And if the children wake in the night.
. . . Last night, it was Laurie. They
must have seen something on television
that was too exciting — we try to control
this, but once in a while — and the poor
little kid was crying in her sleep, while
Katie slept straight through. June and
I were both up and in their room, pat-
ting Laurie's back, watching the two
of them, growing in their sleep. It's a
wonderful feeling . . . beautiful . . .
something you have to make for your-
selves, something no book can tell you
the recipe for. — The End
Fred MacMurray stars in "My Three
Sons," ABC-TV, Thurs., 9 p.m. edt.
Leslie was signed for the show. After
Leslie had made several appearances,
Milton's mother, Sandra Berle, went
backstage to meet the little girl. She
was speechless at the sound of Leslie's
lovely voice as she sang softly to her-
self in her dressing room. Turning to
Leslie's mother, Mrs. Berle whispered
urgently, "That child of yours is going
to be a star some day, I'm sure of it!
But her greatest talent is singing !"
Leslie went on dancing, though, on
Milton Berle's show, and each week
Mrs. Berle would come backstage and
say to Leslie's mother, "What are we
doing for that child? She should be
singing!"
After Milton Berle's show, Leslie's
next big break was with Peter Lind
Hayes, who booked her once on his
show and then was so pleased that he
kept bringing her back, again and
again. More than that, he praised her
to people in power in television, and
her name and face became familiar
around the studios.
Leslie was booked on the "Arthur
Godfrey Show" and the great man him-
self shook his head in wonderment:
"Such a big voice from such a very
little girl! This child will be a big
star soon. I am sure of it."
It was two years later, when she was
fourteen, that the first "small miracle"
occurred. She was only watching TV,
but that was the beginning of a chain
of events that would lead to the greatest
miracle of all. The show was "Name
That Tune." Contestants identified
songs and viewers were urged to send
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95
in lists of songs to be used in the quiz.
Impulsively, Leslie mailed in her list of
songs, and a few days later she saw her
name flashed on the screen. Her list had
been picked!
Then came the $25,000, a miracu-
lous sum that could hardly be called
"small." She appeared on "Name That
Tune," and, teamed for several weeks
with a truck driver, split that amount
with him in May, 1958, just a few days
after her fifteenth birthday. Harry Sal-
ter, producer of the show, was so im-
pressed with Leslie's knowledge and
ability that he scheduled her for a
song appearance. The ratings the show
received were as high as her hopes.
She was on her way. Now she en-
gaged two managers, Mort Curtis and
Al Wilde, and went on tour. She drew
full houses wherever she went. In the
fall of 1958, Leslie enrolled at the
world-famous Juilliard School of Music
in New York.
"The instruction at Juilliard, plus the
actual performances on television and
on tour — even to small audiences — gave
me a confidence and sense of poise I
never had before," says Leslie. "I made
up my mind, once and for all, to be a
professional singer. And I know in my
heart that, like Cinderella, I had good
fairies watching over me."
But there had been one cloud dim-
ming the joy of Cinderella during her
transformation to Princess — her hesi-
tation about the worthiness of her ca-
reer. An idealist, Leslie had thought
about being a teacher, or maybe a nurse
— even of joining the W.A.C.s. Now she
says sincerely, "Teaching and nursing
are proud and noble professions, but I
think that a serious entertainer can
render a great service to people, too."
She is finally sure that she is doing what
is best. She is happy that she is helping
her parents live a prouder, more com-
fortable life, and that she is able to
build for herself a financial nest egg.
A disappointment
Even an ex-Cinderella can rebel. The
life of a princess cheats her sometimes.
Once, when she was sixteen, she had
arranged to go with some of her girl
friends to Coney Island, for a Sunday
of swimming, hot dogs, and rides. She
mentioned this a couple of days before
the big outing to Mort Curtis, and he
exclaimed, "But, Leslie, I've already
booked you at Grossinger's Sunday.
I'm sorry, dear, but we can't go back on
the booking. You've been advertised,
and the show must go on! Why, Leslie,
it's a privilege to be as talented as you
are. and your talent is granted to you
by God."
Bursting into tears at her frustra-
tion, Leslie cried, "But even God took a
day off!" (The show did go on, Leslie
was smash hit, and she has never re-
gretted Curtis's good advice.)
There is a sequel to the story, though.
Three years later, when she booked into
Atlantic City, she reminded Curtis,
"You beat me out of a day at Coney
v Island, remember? This time you've
R simply got to let me go on all the rides
at Atlantic City ! " So, it was written into
her contract that the day after Leslie
96
Uggams opened at Atlantic City would
be an open date for her. And she went
on every ride, and played every game!
Now Leslie is a star on "Sing Along
With Mitch," appearing regularly on
the show, and well on her way to a
quarter of a million dollars this year.
Hers is a "West Side story" come true
with a happy ending, and a luminous
chapter in the otherwise dismal his-
tory of television's rejection of fine
Negro artists.
For all her acclaim and stardom,
however, at home Leslie is still an
obedient and respectful daughter. When
the family moved last September into
a new, elegant midtown apartment, she
decorated her bedroom herself. She still
puts away her own clothing and tidies
up her own room. She runs errands for
her mother, cooks her own breakfast
and lunch, and does household chores.
Recently, when her mother called to
her, "Leslie, carry out the garbage,
please," Leslie protested. "Mother, I'm
being interviewed by a gentleman from
Life magazine. Can't that wait?"
"That's all right," her mother re-
sponded. "He can wait a minute, I'm
sure, while you take out the garbage!"
Leslie enjoys cooking and, when she's
in the kitchen, everybody has to leave,
just as Grandma Uggams used to chase
her out with a broom, when she was
very little. "I cook because I like to,
and my own favorite is spaghetti with
Italian tomato sauce. Mom, who's from
Florida, and Dad, from South Carolina,
like Dixie pork chops, baked with rai-
sins and pineapple sauce. But I prefer
my own spaghetti. I make the sauce
myself, starting with the tomatoes and
going through all the ingredients —
chopped sirloin, oregano, chili, every-
thing — and gosh, is it good!"
Mr. and Mrs. Uggams are loving but
strict parents. "When Leslie goes out,"
explains her mother, "she must call if
there's any change in her plans. Her
father, especially, gets nervous if she
doesn't come home at the time she
promised to. Now that she drives, she
must phone us when she reaches her
destination."
Leslie believes her parents are rea-
sonable. "Too much strictness is bad,
I think. When parents forbid too much,
kids want to do the forbidden things.
And too much leniency can be bad, too."
As an artist, Leslie has been com-
pared with such greats as Judy Gar-
land, Lena Home, Mahalia Jackson,
Doris Day and even the legendary
Marian Anderson. "It's a bit frighten-
ing to be compared with such stars.
Certainly quite premature, I think!"
says Leslie.
Her friends find her an impish de-
light, without any trace of swell-headed-
ness. Her best friends include producer
Herman Shumlin's daughter Lola, pro-
ducer Mike Myerberg's son Paul, mu-
sician Ronald Scott, actors Brandon de
Wilde and Rex Thompson.
Cinderella as a Negro
She moves easily among both white
and Negro friends, says she has never
felt the humiliation of segregation. "I've
been fortunate in practically everything.
I attended integrated schools and lived
in an integrated neighborhood. I know,
though, what segregation means, and
that it exists in both North and South."
Leslie admires the Freedom Riders
through the South, calls them "1961's
most significant event, here at home."
She admires the courage of the Negro
and white Freedom Riders immensely.
She was excited when Negro college
students led sit-in movements for Negro
rights. "They showed the country there
is a new Negro . . . not afraid of fighting
in the open for his rights!"
People from all walks of life, Negro
and white, admire her remarkable tal-
ent, her dignity, her lustrous innocence
and her spine-tingling singing style.
The magazine, Ebony, calls her "Tele-
vision's Top Negro Performer."
A song of faith
She has a cupid face, with sparkling,
mischievous eyes and a strong spiritu-
ality that can be traced to her minister
grandfathers, her church-singing aunt,
her devout parents and relatives. It is
significant that she was singing "The
Lord's Prayer" when Mitch Miller
heard her for the first time on "Name
That Tune" and it was almost inevi-
table that her first Columbia album was
a collection of songs of faith, "The
Eyes of God." There is an inner strength
in her serenity, and she is calm, confi-
dent and mature beyond her nineteen
years.
"I try to read good books, pay atten-
tion to what others are doing and say-
ing. The more you do this, the more
you do yourself by way of self-improve-
ment, the more opportunities you'll be
given," she says.
"What my mother prayed for when
we were little girls has come true for
my sister Frances and for me. The 'mir-
acle' has happened. Frances is happily
married, and I have been able, through
some talent, I guess, and through luck
and help from some of the grandest
people in the world, to accomplish
something."
Leslie Uggams has been compared
with Cinderella of the childhood legend.
And who does she consider her "fairy
Godmother"? Milton Berle, Milton's
mother, Arthur Godfrey, Peter Lind
Hayes, Mitch Miller? There are others,
people who gave her a boost here, a
helping hand there: Paul Whiteman,
Garry Moore, Johnny Olsen, Jack Paar
and Genevieve. Each encouraged her,
gave her work, inspired her.
"Cinderella I'm called?" laughed
Leslie. "Yes, in a way, maybe. But not
much. And the biggest difference is
this: where Cinderella had a mean, evil
stepmother, and a good fairy God-
mother, I've had a good mother and —
and, well, a good fairy, too. But they
are both the same person ! My mother is
my fairy Godmother. Without her love
and care, training and encouragement,
all the other wonderful people in Les-
lie Uggams' life would never even have
heard of little Leslie, you know!"
— Paul Denis
Leslie "Sings Along With Mitch" on
NBC-TV, Thursdays, at 10 p.m. edt. 
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